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An intergenerational meeting of minds, Galaxy is the first collaborative EP from Meanjin, Brisbane musicians Sam Poggioli aka Sampology and Charlie Hill. Equal parts brain dance and body music, Galaxy’s seven tracks represent a vivid intermingling of 70s jazz-funk, fusion, machine-funk, Latin house and broken beat, accented by flourishes of minimalist composition. Considered as a whole, it evokes the possibility and potential of a space-age future where technology and nature exist in simpatico.

One of the most in-demand young jazz drummers in the Meanjin (Brisbane) music scene, Charlie started producing electronic music on his laptop three years ago. It was a vibe shift that hit him after several months spent immersing himself in Europe’s jazz and electronica scenes on the eve of the global coronavirus pandemic. After returning home, he approached Sam about recording some music together.

Sam, a well-travelled Australian DJ, producer and Worldwide FM radio host, was cautious about starting a new side project. However, when he heard his demos, he realised Charlie was blending rhythmic fundamentals he’d learned while completing a music degree with a beautifully wide-eyed approach to jazz-tinged electronica.

With Charlie on drums and Sam on MPC, they set about recording the songs on Galaxy, along the way discovering Sam’s mother taught Charlie visual art as a child. They also learned that Charlie’s mother plays with Sam’s father in the Queensland Symphony Orchestra, synchronicities which made their collaboration feel like it was meant to be.

As part of the Galaxy sessions, Sam and Charlie collaborated with fellow Australian vocalists Tiana Khasi and Merinda Dias-Jayasinha. On ‘Constant Call’, Tiana threads neo-soul/modern soul melodies through a backdrop that sounds like Burial on a future jazz tip. ‘Merinda’, on the other hand, sees Merinda laying a repeated Steve Riech-style vocal refrain over a man/machine instrumental accented by stargazed synths.

At the same time as they were creating Galaxy, Charlie was also busy recording his debut solo EP Yore, both of which are due for release in August 2023, respectively, through Middle Name Records.

Following up his score for the japanese Netflix Anime series “Carole & Tuesday”, Mocky returns to album mode with his new orchestral opus “Overtones For The Omniverse”. Just days before the first Covid lockdowns, Mocky brought a 16 person orchestra comprising of his usual who’s who of underground talent into LA’s Barefoot Studios (and into the same room where Stevie Wonder recorded “Songs in the Key of Life”) to record a pile of scores he had come up with during his previous year’s sabbatical in Portugal. The result is a stunning orchestral album recorded in 36 hours in one or two takes straight off the written page. Shunning the “possible perfection” of today's recording techniques, Mocky looked back as a way to find an alternate future.

According to Mocky:
“We had to do it quick with no rehearsal to capture that big open sound of people working together in a room - in all its imperfect glory. In the imperfections you find the humanity. And in today’s tech driven spaces you have to fight to preserve a space for humanity. I felt a deep desire to create a sonic trajectory path for us to follow as we ascend and evolve our understanding of love and what it means to be human. This is the inspiration for „Overtones for the Omniverse“”.

The album runs the gamut from Steve Reich infused minimalism overlaid with Dorothy Ashby style harp runs (“Overtures”) to atonal analogue synth sounds over Martin Denny style percussion (“Bora!”). There's a classic Mocky crooning number that gives a Jim Henson-esque take on the state of “Humans” and the album as a whole captures Mocky's skill of bringing together the joyful energy of a unique cast of LA collaborators.

Featuring:
Randal Fisher / Flute, Vicky Farewell / Piano, Vocals, Harry Foster / Bass, Vibraphone, Tubular Bells, Vocals Joey Dosik / Organ and Glockenspiel, Vocals, Guilermo E. Brown aka Pw / Percussion, Vocals, Jhan Lee Aponte (TossTones) / Percussion, Vocals, Timpani, Paul Cartwright / Violin, Molly Rogers / Viola, Gabe Noel / Cello, Contrabass, Liza Wallace / Harp, Coco O. / Vocals, Mocky / Compositions, Drums, Vocals, Roland Sh-1000

O for the O Choir :
Nia Andrews, Leslie Feist, Moses Sumney, Durand Bernarr, Eddie Chacon

Recorded at Barefoot Studios, Los Angeles March 6 + 7, 2020.
All songs written by Dominic “Mocky” Salole and published by Heavy Sheet Music/Warner Chappell except "Wishful Thinking" written by Dominic “Mocky” Salole and Matt Corby and "Bora!" written by Dominic “Mocky” Salole, Guillermo Brown, Aponte Poro.

Produced by Mocky, Justin Stanley and Renaud Letang. Mixed by Renaud Letang at Ferber Studios Paris
Mastered by Emilie Daelemans. Cover artwork by Rand Sevilla. Photo by Vice Cooler.

ABOUT MOCKY
Performer, producer, songwriter, composer and multi-instrumentalist, Dominic "Mocky" Salole came to prominence in the Berlin electronic scene of the mid 2000s, releasing three acclaimed solo albums, co-writing and producing classics like Jamie Lidell's "Multiply" and Feist's "The Reminder" and making waves on stage with close collaborators (and fellow Canadians) Peaches, Feist and Chilly Gonzales.
In 2009, his music took a jazz-inflected turn to the acoustic with the release of "Saskamodie" and in 2011, after work in Big Sur on Feist's "Metals", Mocky relocated to Los Angeles, where he quickly established himself as a co-writer with uncommon credentials and eccentric working methods collaborating with L.A.’s brightest breakthrough artists like Kelela, Joey Dosik, Vulfpeck or Moses Sumney.

Whilst in L.A. songs he has written have been sung by Mary J. Blige, Jill Scott and many more and he has collaborated with artists as diverse as Mali’s Bassekou Kouyate and the GZA. His monthly rooftops gigs at the ACE Hotel breathed new life into the LA live scene and Mocky channeled those new creative energies into his fifth full length album "Key Change" and four digital mixtapes/EPs "The Moxtapes" Vol. I-IV.

After co-producing and co-writing Feist's "Pleasure", Kelela's "Take Me Apart" and Joey Dosik's "Inside Voice", in 2018 Mocky released two albums: "Music Save Me (One More Time)" - a collection of the best of Japan-only/unreleased gems and favorites from his so far digital only "Moxtapes" series and "A Day At United", an instrumental jazz album, recorded in a single day in the legendary LA recording studio United Recording.

In 2019 Mocky delved into soundtrack work by collaborating with legendary Anime director Shinichiro Watanabe (Cowboy Bebop) on the first two seasons of the breakthrough show “Carole and Tuesday” (Netflix) for which he won Best Score at the Anime Awards 2020.

Synth lovers rock at its best! Jamaican born and New-York based, Laury Webb is a singer, musician, producer, actor, former model and writer. He's been called both the Opera Dread and the Frank Sinatra of Reggae.
Laury's musical career began with a role as keyboardist and later backing vocalist with the reggae vocal group The Meditations (with whom he continues to perform).
Laury Webb posses a unique and eclectic vocal style. He has performed at some of New York city's premier musical venues, including Lincoln Center's Alice Tully Hall, The Village Gate, S.O.B.'s, The Ritz, The Lion's Den, Joe's Pub, Leopard Lounge, Kenny's Castaway, Central Park Summer Stage, The Baggot Inn and The Brooklyn Bowl.
After enjoying years of being a back-up musician, Laury launched a solo career with his Tigerbone Band. During that period he recorded and releases singles "Woman My Queen" and "It Seems The Same".
He was fresh out of college and touring with The Meditations, when he purchased a small organ for his girlfriend/mother of his two children for Christmas. By the time her birthday came around he was so broke and could not afford to purchase a birthday present for her so he gave her a writing pad and pen and told her to write down whatever came out of her mouth, and he sat at the keyboard and began playing and singing. “Woman My Queen”, was the result.
“It Seems The Same” was begun in America but I did not finish writing it till the music was recorded. My cousin, Barry Biggs, worked with me on this one. We both sang on the backing tracks.
Written, Composed & Arranged by Laury Webb
Artwork by Parade Studio
Woman My Queen:
Recorded at Quadrasonic Studio (New-York) in 1986
Backed by The Tiger Bone Band
Bass: Leroy Guy
Keyboard: Laury Webb
Drums: David Ranglin
Guitar: Royo
Mixed by Peter Lewis
It Seems The Same:
Recorded at Music Mountain Studio (Jamaica) in 1987
Keyboard & Drum Programming: Winston Wright
Backing Vocal: Laury Webb & Barry Biggs

8 Mile – Music From And Inspired By The Motion Picture (Expanded Edition) the soundtrack to Eminem’s semi-autobiographical legendary film of the same name was released 20 years ago (on 10/28) and spawned one of the biggest hits of his career, Lose Yourself, which has been certified 13x Diamond. 8 Mile is also famous for launching 50 Cent’s musical career with his first hit “Wanksta.” This new expanded edition features all of the songs from the album in an instrumental format alongside the demo version of “Lose Yourself.”

Harlem & Irving label partner Brian Kelly assumes his Supplement alias here for a new and limited edition 12" that features two of his tasteful and challenging sounds. Kelly is always out to disrupt and subvert and does so with aplomb here as the a-side title track starts with a whisper but soon grows with layers of found sound, piano, percussion, and ethereal voices. It then collapses before reemerging with melodic and tonal guitars and pulses. On the flip, the same tune comes 'Revisioned' but is much more cold and distorted, edgy and urgent. This record also comes with s the published essay, Revision: Composing an Aesthetics of Performance Pedagogy (Kelly & Wooda, 2016).

Repress!

Outstanding free jazz session recorded in 1973 in Paris by Chicago outfit BAG.

It was Lester Bowie, trumpeter with the Art Ensemble of Chicago, who suggested that the Black Artists' Group (BAG) should head for Paris. In 1972 several members of BAG took his advice and flew to France for an extended stay. The following year a concert featuring saxophonist Oliver Lake, trumpeters Baikida Carroll and Floyd LeFlore, drummer Charles Bobo Shaw and trombonist Joseph Bowie (Lester's younger brother) was recorded and subsequently issued as In Paris, Aries 1973, a strictly limited edition LP on the group's own label.

Since the formation of Black Artists' Group in 1968, the home of this multidisciplinary arts collective had been St Louis, Missouri, the city where the Bowie brothers had grown up. It was there that Lester Bowie had started to investigate the expanding horizons of jazz before moving, in 1966, to Chicago where he joined the recently established Association for the Advancement of Creative Musicians (AACM). His close friend Oliver Lake visited Bowie, attended AACM concerts and meetings and was inspired not only by their artistic vision and integrity but also by their efficient organisation. In Chicago musicians were making things happen for themselves, taking control of their own destinies and giving shape to their lives as creative artists.

In June 1969, the Art Ensemble of Chicago had taken their music to France. During the preceding decade Paris had established a reputation for audiences that were unusually well-informed and open-minded, receptive to the uncompromising music of black American innovators such as Cecil Taylor, Ornette Coleman, Albert Ayler and Sun Ra. The city that had nurtured not only Cubism and Surrealism, but also Jean-Luc Godard and contemporary cinema's Nouvelle Vague was well prepared for the sonic collage forms and stylistic dislocations of the Art Ensemble. During that same month violinist Leroy Jenkins, trumpeter Leo Smith and saxophonist Anthony Braxton also arrived in Paris, three further emissaries from the AACM.

The adventure of collective improvisation resonated with the Parisian zeitgeist. Enthusiastic audiences attended their concerts and coverage in the media. In Paris, Aries 1973 offers an isolated and fascinating glimpse into that phase of the group's existence. The album is dedicated to the memory of Kada Kayan, a bassist who had hoped to make the trip from St Louis to France but, tragically, had grown ill and died. His absence adds special poignancy to the sound of the bass when it appears on this recording, played by Baikida Carroll. Listeners keen to hear Kayan himself in the company of Lake, Bowie, Shaw, LeFlore and Carroll should seek out Red, Black and Green by the 10-piece Solidarity Unit, Inc. That album, recorded on 18th September 1970 and dedicated to Jimi Hendrix, who died on that day, features an earlier version of Shaw's composition 'Something to Play On.'

In Paris, Aries 1973 reveals BAG's musical affinities with the Art Ensemble of Chicago. Both groups preserved an independently minded approach to the notion of free jazz and a carefully filtered awareness of pan-African musical practices, while their creative interest in space, mobile structure, chance occurrences and simultaneity also suggests parallels with the concerns of leading experimental composers working at that time. These performances in Paris of Shaw's 'Something to Play On' and Lake's 'Re-Cre-A-Tion,' plus two collective compositions/improvisations, display the dedication to structural fluency and sensitivity to coloration that accompanied BAG's unorthodox group dynamics and their unconventional instrumental combinations. In this case the musicians embrace congas, log drums, marimbas, woodblocks, cowbells and gongs. This is not a showcase for solos, but a shape-shifting and multi-centred statement of togetherness, quest and discovery. Removed from BAG's original multidisciplinary context the music still exudes an exhilarating spirit of collaborative exploration and shared excitement.

Multi-Award winning, hugely influential musician Feist returns with Multitudes, her sixth solo album and first since 2017’s Pleasure.

Multitudes was produced by Feist with longtime collaborators Robbie Lackritz (The Weather Station, Bahamas, Robbie Robertson) and Mocky (Jamie Lidell, Vulfpeck, Kelela). Blake Mills (Bob Dylan, Fiona Apple, Perfume Genius) and Joseph Lorge came in to mix, with Mills as a co-producer in the final stages.

Multitudes took shape soon after the birth of her daughter and sudden death of her father, a back-to-back convergence of life-altering events that left the Canadian singer/songwriter with “Nothing performative in me anymore.” As she cleansed her songwriting of any tendency to obscure unwanted truths, Feist slowly made her way toward a batch of songs rooted in a raw and potent realism which is touched with otherworldly beauty.

Largely written and workshopped during an intensely communal experimental show of the same name through 2021 and 2022, the songs on Multitudes developed in parallel with and were deeply influenced by the mutuality of the unconventional experience. The production, developed by Feist with legendary designer Rob Sinclair (David Byrne’s American Utopia, Peter Gabriel, Tame Impala) was formulated to bring people together as they re-emerged from lockdown while providing an outlet for connection between artist, art, and community.

Juan Pablo Torres was one of the best trombone players in the Latin-jazz community of the second half of the 20th century.

He was the director of Algo Nuevo and a member of Irakere, two of the leading exponents of Afro-Cuban jazz in the 1970s and 1980s. He has also directed various Cuban supergroups such as Estrellas de Areito and Cuban Masters.

Almost all of his albums were made for Areito de La Habana, Cuba.

‘Cuba Disco’ was the only album released in his name in Europe; recorded in Milan in 1984 and produced by Aldo Pagani. In Italy in the same year he participated in two records by Pino Daniele and one by Astor Piazzolla.

Accompanied by his faithful Gruppo Algo Nuevo, with the addition of some guests such as the Italian jazz guitarist Angelo Arienti, his traditional Afro-Cuban vein is contaminated by disco and balearic moments; as in the case of the magnificent ‘Bermuda Triangle’ which anticipates the current atmosphere of Nu Genea.

Limited edition. Released from the transfer of the original master tape.

* New 10” from ultra-cool Helsinki-based roots, dub and reggae label / sound system Intergalaktik Sound.
* Featuring 4 cuts on the same deep roots rhythm featuring vocals from the legendary G.T. Moore and Dan I Locks.
* Produced by IGS Riddim Force, mixed, voiced and dubbed up by Russ D from The Disciples.

"Plastic Music For Deep Thinkers" is a peculiar fusion of electronic music inspired by a cross-section of Warp Records releases, enriched with intelligently used elements of jazz, hip-hop and experiment. This multicolor creates an original mixture with a very emotional expression. Post-hip-hop, irregular beats intertwine with the club pulse and jazz harmonies, and the omnipresent sounds of synthesizers meet organic samples.

"Conceptually, this album is the result of an insight into the current state of the apogee of "plasticity" and confusion of the world, and at the same time its downfall in shape we know it. The title, full of contradictions, speaks of an artificial and exaggerated reality, but also of necessary, deeper reflection on it. Plastic, integrated circuits and synthetic sounds tell the story of human transformation in modern realities."

As the author himself admits with a grain of salt: "This record sounds familiar, but it is similar to nothing - like the reality I observe."
Szymon Burnos is a pianist/keyboardist, composer, producer and improviser. With his eclectic sensitivity he combines various, often extreme, musical worlds and his inclinations and inspirations reach many languages - from electronic music, through jazz, hip-hop, ambient, to avant-garde. He's known mainly for his activities on the Tri-City improvised music scene and from groups such as Algorhythm, delay_ok, Nene Heroine, Tomasz Chyła Quintet or Mu and the Alpaka Records label.

Szymon Burnos is a pianist/keyboardist, composer, producer and improviser. With his eclectic sensitivity he combines various, often extreme, musical worlds and his inclinations and inspirations reach many languages - from electronic music, through jazz, hip-hop, ambient, to avant-garde. He's known mainly for his activities on the Tri-City improvised music scene and from groups such as Algorhythm, delay_ok, Nene Heroine, Tomasz Chyła Quintet or Mu and the Alpaka Records label.

Gretchen Goes to Nebraska is the second studio album by American heavy metal/hard rock trio King’s X. It is a concept album based on a short story written by drummer Jerry Gaskill.

The album received virtually universal critical praise for its uniquely progressive musical approach and varied styles and is considered as one of their works, a seminal record within the progressive metal genre. It achieved high slots on various Album Of The Year-lists, including #4 in Kerrang!.

Gretchen Goes To Nebraska is available as a limited edition of
1500 individually numbered copies on gold coloured vinyl.

María Dueñas presents her highly anticipated Deutsche Grammophon debut album; Beethoven and Beyond captures a towering performance of the Beethoven Violin Concerto, recorded live at Vienna’s Musikverein and featuring the artist’s own cadenzas. The album also includes works by Kreisler, Saint-Saëns, Spohr, Wieniawski and Ysaÿe, with a companion disc of Beethoven cadenzas by the same composers.

"Plastic Music For Deep Thinkers" is a peculiar fusion of electronic music inspired by a cross-section of Warp Records releases, enriched with intelligently used elements of jazz, hip-hop and experiment. This multicolor creates an original mixture with a very emotional expression. Post-hip-hop, irregular beats intertwine with the club pulse and jazz harmonies, and the omnipresent sounds of synthesizers meet organic samples.

"Conceptually, this album is the result of an insight into the current state of the apogee of "plasticity" and confusion of the world, and at the same time its downfall in shape we know it. The title, full of contradictions, speaks of an artificial and exaggerated reality, but also of necessary, deeper reflection on it. Plastic, integrated circuits and synthetic sounds tell the story of human transformation in modern realities."

As the author himself admits with a grain of salt: "This record sounds familiar, but it is similar to nothing - like the reality I observe."
Szymon Burnos is a pianist/keyboardist, composer, producer and improviser. With his eclectic sensitivity he combines various, often extreme, musical worlds and his inclinations and inspirations reach many languages - from electronic music, through jazz, hip-hop, ambient, to avant-garde. He's known mainly for his activities on the Tri-City improvised music scene and from groups such as Algorhythm, delay_ok, Nene Heroine, Tomasz Chyła Quintet or Mu and the Alpaka Records label.

Szymon Burnos is a pianist/keyboardist, composer, producer and improviser. With his eclectic sensitivity he combines various, often extreme, musical worlds and his inclinations and inspirations reach many languages - from electronic music, through jazz, hip-hop, ambient, to avant-garde. He's known mainly for his activities on the Tri-City improvised music scene and from groups such as Algorhythm, delay_ok, Nene Heroine, Tomasz Chyła Quintet or Mu and the Alpaka Records label.

Trey Gruber's posthumous debut double LP Herculean House of Cards. A compilation of early demos, studio demos, and live recordings. A tortured songwriter and struggling addict who jolted the tired Chicago DIY scene with his own brand of primal despair, Trey Gruber and his band Parent were on track to join the ranks of Twin Peaks, Mild High Club, and Whitney. His death in 2017 at the age of 26 brought it all to a halt. In his final years Trey wrote and recorded hundreds of previously unheard demos, dandelions in the cracked concrete of 21st century disconnect, an alphabet's worth of which have been compiled by his family and friends for his only album: Herculean House Of Cards. The 26-song 2xLP covers years of material, from home tape recordings, sessions at Mathew Roberts (Mild High Club) & Paul Cherry's home studio, to a studio session with Charles Glanders (Whitney) at Chicago's Foxhall Studios, along with audio taken at The Hideout during his last live performance, among others. Though Gruber was an unrelenting perfectionist who was constantly self-deprecating about his best demos, Herculean House of Cards is a wholly comprehensive and accurate reflection of his infectious charisma and raw songwriting. He had a charmingly distinct way with words but also could be disarmingly vulnerable. Like he was in life, Gruber never shied away from being open with his struggles with alcoholism and addiction. On the vivid opener "Eisenhower to the West Side," he sings in painstaking detail of, "A jail-skin cell, a junkies fight/Corner-boys full of grace/And Jesus Christ full of spite." He told then-future bandmate flautist Rebecca Ridge, "It's not some Lou Reed glorification of drugs _ `makes me feel like a man'_ I talk about the disconnect and the ugliness. They're sad pop songs." But even with the pain and the darkness in his lyrics, Gruber's songs had an unmistakable sense of hope and catharsis.

Trey Gruber's posthumous debut double LP Herculean House of Cards. A compilation of early demos, studio demos, and live recordings. A tortured songwriter and struggling addict who jolted the tired Chicago DIY scene with his own brand of primal despair, Trey Gruber and his band Parent were on track to join the ranks of Twin Peaks, Mild High Club, and Whitney. His death in 2017 at the age of 26 brought it all to a halt. In his final years Trey wrote and recorded hundreds of previously unheard demos, dandelions in the cracked concrete of 21st century disconnect, an alphabet's worth of which have been compiled by his family and friends for his only album: Herculean House Of Cards. The 26-song 2xLP covers years of material, from home tape recordings, sessions at Mathew Roberts (Mild High Club) & Paul Cherry's home studio, to a studio session with Charles Glanders (Whitney) at Chicago's Foxhall Studios, along with audio taken at The Hideout during his last live performance, among others. Though Gruber was an unrelenting perfectionist who was constantly self-deprecating about his best demos, Herculean House of Cards is a wholly comprehensive and accurate reflection of his infectious charisma and raw songwriting. He had a charmingly distinct way with words but also could be disarmingly vulnerable. Like he was in life, Gruber never shied away from being open with his struggles with alcoholism and addiction. On the vivid opener "Eisenhower to the West Side," he sings in painstaking detail of, "A jail-skin cell, a junkies fight/Corner-boys full of grace/And Jesus Christ full of spite." He told then-future bandmate flautist Rebecca Ridge, "It's not some Lou Reed glorification of drugs _ `makes me feel like a man'_ I talk about the disconnect and the ugliness. They're sad pop songs." But even with the pain and the darkness in his lyrics, Gruber's songs had an unmistakable sense of hope and catharsis.

When we established Balmat in 2021, neither of us could have imagined that within two years, we’d be putting out an album by one of our musical heroes: Mike Paradinas, aka µ-Ziq. The British producer has been an inspiration to label co-founders Albert Salinas and Philip Sherburne since the 1990s. In fact, his album-length remix project The Auteurs Vs µ-Ziq was one of the very first pieces of electronic music that Philip bought, way back in 1994. To have the opportunity to release his music now feels like a real full-circle moment.

Paradinas, of course, needs no introduction. Under a slew of aliases, chief among them µ-Ziq, the British artist revolutionized leftfield electronic music in the 1990s—coincidentally, this year marks the 30th anniversary of his debut album, Tango N’ Vectif, for his friend and sometime collaborator Aphex Twin’s Rephlex label—and his label Planet Mu has built up a formidable catalog of visionary, forwardlooking records, mapping virtually every corner of the electronic spectrum. With 1977, he turns the clock backward in a sense, and not just with the album’s title: Rooted in classic ambient and electronic sounds, these 15 tracks evoke the anything-goes spirit of the early ’90s, before the tools and tropes had calcified into cut-and-dried styles.

There’s no shortage of familiar sounds on 1977. There are echoes of raves and chillout rooms and transmissions from the fringes of techno; there are detuned synths and glistening reverb tails and, above all, gauzy vox pads, the eerie glue that holds it all together. The title, he says, is meant to invoke a general sense of nostalgia, bookmarking a year in his boyhood when he became more selfaware. More than anything, 1977 sounds like µ-Ziq distilled: Stripped of his signature breakbeats and customary chaos, Paradinas’ first-ever strictly (well, mostly) ambient album presents the essence of his music in a whole new light.

Along the way Paradinas touches on dark-ambient drones (“Marmite”), horror-film themes (“Belt & Carpet”), jungle breaks (“Mesolithic Jungle”), and even house music (“Houzz 13”), which marks the first bona fide dance-floor moment on Balmat to date). Yet the album never—to our ears, anyway— feels expressly retro. Rather, Paradinas plucks timeless sounds out of the ether and gives them a gentle tap, spinning them into unexpected new orbits. At times, 1977 feels like an experience of extended déjà vu: When we first listened to it, we had the sense that we already knew this music. It was as though we had heard it years ago, perhaps on a battered cassette tape lent to us by a friend, and been searching for it ever since. We hope you feel the same.

Civilistjävel! returns to Copenhagen label FELT with a four track EP following on from 2022's Järnnätter album.

Equally well placed next to the Biosphere / early Fax +49-69/450464 camp as well as various decades of electro-acoustic drone practitioners, Fyra platser (Four Places) also includes a trip-hop leaning collaboration with Cucina Povera. Whilst Järnnätter drew influence from the cyclical, chasmic nature of dub techno, Fyra platser hones further in on the ‘between’ areas in a minimal, reductivist fashion. The rhythms are there to follow but are primarily beatless and more expansive, though skewing perceptions of time in the same trademark manner.

Three locations in the Nordingrå area of the Swedish high coast are exorcised and channelled through sound. ‘Kolugn’ is a deliberately grainy, sepia-tinged continuation of the likes of Robert Rutman’s work across the 70s American avant-garde. It sits in contrast to the more obviously synthesis-led direction of fellow longform piece ‘Valmsta’. The location slowly changes to Finland via Athens, scenes of cafe conversations and hazy polaroids informing the lyrics of ‘Louhivesi’. The result sounds like a 90s illbient record dropped around 30 bpm and the stylus has caught on a perennial 8-bar loop. The balance of Cucina Povera’s cold, reverb-heavy vocal inflections drive the track into another dimension. If Moral were the Scandi Joy Division, this pairing must be the Scandi Massive Attack.

In 2015, when we launched Hip Dozer, we were overwhelmed by the amount of talent that was still championing this old school way of making beats and the incredible creativity that was circulating in the scene.

In a period where hip hop was evolving so much and going further (sometimes for the better but also for the worse), it was obvious to us that we had to defend this rising scene of young beatmakers who were so attached to the roots of old-school beatmaking but who were always taking it to another level.

It's been 7 years since we created Hip Dozer Records with our first anniversary compilation and that's what makes this compilation so special every time. Its purpose remains the same and will always be to champion the art of beatmaking that we love and to help showcase new artists in the scene.

This year we are lucky enough to have some of our favourite talents from the scene on board with artists like Saib, Flughand, Phoniks, Cookin Soul, SoulChef and Wun Two.

We would like to say a huge thank you to all the artists who have been involved in this project and who have been as enthusiastic as we are in making it happen. It has been such a pleasure since the beginning of this adventure and this is only the beginning. Much love to all of you who listen and support wherever you are.

Brilliantly remastered (picture) LP/CD with new stunning artwork!
Lo-Fi India Abuse was recorded in 1998, some tracks are “pure” Muslimgauze and some are re-mixs of tracks from Systemwide’s “Sirius” CD (see also Systemwide meets Muslimgauze “at the City of the Dead” 12″). Nearly all of the tracks have hand percussion in varying tempos and intensities and at least 1/2 make use of electronic noise surges. The sound is very crisp and clean, extremely well produced, recorded and nicely varied throughout the length of the disc. Some track by track comments: “Antalya” is obviously from the same sessions as “Fakir Sind” seeing as it shares the same hand percussion sound, whistles, vocal wailing, cut-ups and delays. “Valencia Flames” sounds like a Systemwide remix. A dub bass line, hi-hat and background vocal of some sort are all obliterated by numerous delays, starts, stops and re-starts with an unpredictable nature in these cut-up tracks. “Al Souk Dub” injects background voices, market sounds and drones into the cut-up mix of slow hand percussion playing. “Catacomb Dub” and the final two tracks make use of twinkling synth waves, presumably a Systemwide sound source. “Dust of Saqqara” has a heavy pulsating electronic sound wave over an old beat box rhythm. “Android Cleaver” is brutal (as is “Nommos’ Afterburn”) hand percussion, jabs of noise and an oft repeated, unintelligible vocal sample. Yes, Lo-Fi India Abuse is yet another great Muslimgauze release, grab it!
All tracks recorded by Muslimgauze 1998
Some tracks are re-mixes from Systemwide’s “Sirius” album
Re-mastered by Višeslav Laboš
Sleeve by Oleg Galay
Originally released in 1999 via BSI Records (BSI 1999-3).

Hell Yeah heads to Brazil and the cultured sounds of Pedro Bertho for a hot new 12" that features Mariana Gehring and remixes from Romain FX and My Friend Dario. The digital version includes two bonus cuts while the vinyl is the first to have all-new artwork by FJD.

Now based in France, inclusive party promoter Pedro Bertho’s music is a melting pot of sound that draws on his own personal heritage and a life spent digging for records. That means that afro rhythms, Italo melodies, rolling reggae, deep house, and plenty more all get mixed up into something new.

They have come on the likes of Cracki Records and always search out innovative ways to bring euphoria to the dance floor.

For the first tune, he works with Mariana Gehring, a Sao Paulo-based singer and composer influenced by new MPB and other signature Brazilian sounds like Forro, Maracatu and Samba.

Their excellent 'Tornei' is a mix of full-fat bass and sensuous vocals. Fizzing synths, percussion and FX bring the energy while Gehring arrives in the breakdowns to bring the spine-tingling soul. Romain FX is a scene mainstay, label head at fauve, boiler room veteran and has released on the likes of Kalahari oyster cult and many more.

His version is a retro workout with lush cosmic melodies and slinky grown-up grooves sure to get the floor full.

Next is 'Elephants au 5eme', a busy mix of analogue drums and hits, wild elephant trumpets and fleshy synths that bring unusual tropical heat to any party. The same track is remixed by label regular and new school Balearic boss my Friend Dario.

He plays with the vocals, layers in shimmering chords, and keeps things dubby to make for another of his signature grooves.

Welcome to the "Consume Land Flea Market". This is the atmospheric setting and at the same time the luminous title of the debut album of young producer Noayama. "It centers on the contradiction between turbo-capitalist consumerism and the desire for vintage stuff in all kinds of shapes and colors to escape reality for a bit. I think it's quite a nice and suitable metaphor for the position my generation is in right now" says the 21-year-old producer, musician and interdisciplinary artist.

On about 40 minutes, Noah Berger, who grew up near Munich, spans a wide musical arc with his alter ego Noayama. He combines Hip Hop aesthetics with playful Electronica and acts skillfully in the interstices of Pop. Hints of 70s Funk hedonism, Old-School House vibes and modern J-pop sensibilities can also be found on "Consume Land Flea Market." The binding agent of the album is Noayama's "Punk Attitude" which comes through clearly on his tracks and beats and is an elementary part of his producer DNA. "I just like to drift, it's very central to the way I work" adds Noah.

Just as important for him are intergenerational collaborations, which adorn his debut work in numerous ways. An illustrious round of artists is therefore represented on CLFM. It starts with young female rap artist Maassai from the New York underground scene who can be heard on the pulsating opener "Get You Back". Also from N.Y.C is Hprizm, a member of the legendary avant-garde rap group Anti-Pop Consortium, who is featured on the dark and gritty "I Went Left" and the bouncer "War." Funkstörung is also involved here. Not too much of a coincidence as Noah has been encouraged since his teenage days by his father Michael Fakesch, one half of the Glitch-hop pioneers who became famous in the late 90s. With "The Legendary Godmother of Japanese Electronica" Coppe' on "Majesty" and the German singer-songwriter her tree on the song "Flâner", introverted pieces have also found their place on CLFM. In addition multilingual verses with Silo Inf3rnx from the townships in Gugulethu on "Ingozi" and on top "the homies from the neighborhood" Anothr and Taprikk Sweezee who give the album further facets through their contribution.

Noayama combines elements and working methods of the last five decades in a relaxed manner and bundles them into a genuine piece of work. Emblematic of this approach is the choice of features. So is the gear he uses. He incorporates old synths (Roland Jupiter 8, Nordlead) and drum machines (Roland 808, Roland 909) with playful ease with common software tools. It's also pretty convenient that he's currently studying Digital Arts at the Kunstuni Linz. In fact, his semester project is the visualization of his own album which means that every single track and every interlude gets its own video. Well, Noayama is just a gambler.

Hawthorne is the powerful new album and short film from Queens-by-way-of-Detroit emcee Motown Priest, a gifted lyricist with a penchant for writing gripping narratives. More than just a gifted storyteller, he also has a phenomenal ear for production that helps to take this project to another level. It’s a cohesive, poignant, and incredible piece of art that serves as a searing look at the world we all live in today. “This album and film weren’t about cheap moralism or heady preaching, it's a very simple idea of confronting who we are, and who we are affects the world around us,” Motown Priest explains. “This is where Hawthorne, in both music and film, connects.” He’s true to his word, too, because the album’s 12 tracks bang just as hard as they make you think. They’re the type of songs you can sit with and unpack, or you can blast them at full volume to make your system rattle - or both. Tracks like “For Sale” and “The Calogero Effect” boast soulful, nostalgic production that fits their more meditative narratives of succumbing to vices and childhood innocence. On the other hand, “Pandora’s Box” straight-up slaps thanks to its distorted guitars and live drums, while “New Religion” is an aggressive, teeth-gritting banger. It’s all part of Motown Priest’s plan to fully engage with his audience while delivering one of the year’s best releases, regardless of genre and medium. In addition to the album, Hawthorne exists as a short film that further explores many of the same themes (ceaseless desire, identity, and capitalism) through the visual format.Within its 35-minute runtime, the film follows the same protagonist as the album, a young man who seeks change and fulfillment but doesn’t consider the pain and damage he causes along the way. It makes for a damning look at so many cultural ills, and it couldn’t have arrived at a more fitting time.

All tracks from 2021 transfers and newly remastered - LP editions include a booklet featuring unseen photos and liner notes by Lenny Kaye, plus contributions from Nick Cave and Devendra Banhart // Karen Dalton's 1971 album, In My Own Time, stands as a true masterpiece by one of music's most mysterious, enigmatic, and enduringly influential artists. Celebrating the album's 50th anniversary, Light in the Attic is honored to present a newly remastered (2021) edition of the album on LP, CD, cassette, and 8-Track. All audio has been newly remastered by Dave Cooley, while lacquers were cut by Phil Rodriguez at Elysian Masters. A newly expanded booklet-featuring rarely seen photos, liner notes from musician and writer Lenny Kaye, and contributions from Nick Cave and Devendra Banhart-rounds out the CD (32-pgs) and LP (20-pgs) packages.

The New York-based heavy metal band Riot released their third studio album Fire Down Under in 1981, which instantly became their most popular effort and is considered by many to be an early ‘80’s classic. It was the last album to feature the vocalist Guy Speranza.
The album features Riot’s most recognizable and popular tune “Swords
& Tequila” as opening track. Other standouts include the fast-paced title
track “Fire Down Under”, “Outlaw,” and “Don’t Bring Me Down.”
Fire Down Under is available as a limited edition of 750 individually
numbered copies on translucent red coloured vinyl.

First solo LP by the talented Peruvian artist Betico Salas, lead trumpet player of the great Sonora de Lucho Macedo, one of the best ensembles playing Cuban repertoires in the early '60s. This 1966 album features Alfredo Linares on piano and sonero vocals by Benny del Solar, and combines a mix of guarachas, guanguancó and even cumbias. Betico Salas would later release two more albums and become a legendary trumpet player in Peruvian musical history. First time reissue.- DETAILS: Alfredo Linares on piano and sonero vocals by Benny del Solar stand out on this album. Benny del Solar sings lead vocals on the cumbia of Argentine origin 'Nos vamos a casar'; the Colombian 'Lo que pasa es que la banda está borracha', a continental hit since the early sixties; the guaracha 'A los muchachos de Belén', by Puerto Rican musician Tito Rodríguez; the guaracha 'Ritmo del amor'; the elegant Cuban guaguancó 'Así namá', also well known for Tito Rodríguez's rendition; and the cumbia 'Qué le digo a mi mujer'. Singer, César Gonzales, who would have an extensive career in Peruvian tropical music, sang lead vocals in the guaguancó by the Sonora Matancera 'Lindo Omelenko' and the bolero 'El árbol', a hit for the singer Roberto Ledesma, also recorded that same year by Peruvians Carmita Jiménez, Anamelba, Raul del Mar and Lucho Macedo himself, who decided to sing for his new record label. The mythical singer Johnny Arce, years later known as Mr. Macondo, also appears on the album on the two guarachas: 'La renga', a composition by Esther Forero, known as La novia de Barranquilla; and 'Yo soy candela', a composition by the Colombian Ray Rodríguez. Finally, 'La chola' is a cumbia by Peruvian composer Tomás Benítez; and 'Mambo Jazz' is a version of the descarga 'Yayi's instant mambo', an innovative instrumental track performed by Puerto Rican Willie Rosario, who recorded it in the United States at the start of 1966 with his own orchestra. Betico Salas would later release two more albums and become a legendary trumpet player in Peruvian musical history.

Stay Up Forever on their 110th release and still going strong. Ciuciek teams up with Aggie Acid Line and Bassline Ben for a rousing Acid Techno anthem on the A1 track ACID ON THE DANCEFLOOR.

The same trio get darker on the A2 with HEAD FULL OF ACID, whilst Ciuciek and fellow Polish producer ErykkMTK deliver a pulsating dancefloor bomb on the B1 with RETURN TO ACID.

Following in the footsteps of "Mind Palace" and "Lost Spirits", respectively issued in 2018 and 2021, Hidden Empire return to Stil vor Talent with their eagerly anticipated third studio full-length, "Momentum". Going the same route that came to define their sound throughout the years, Branko Novakovic and Niklas Schäfers cook a savvy mix of deep electroid flavours and prog techno magnitude which flourishes in the long-playing format. Orbiting the frontier between proper no-nonsense, floor-focussed effectiveness and a trademark exploratory take on electronics, Hidden Empire here delivers one of their most accomplished slices to date, which not only spans the largest span of their many-faceted influences, from tribal anchorage to hypermodern escapology, but breathes a truly epic wind into it.

Draped in luscious, silken envelopes and easternmost ambiences, "Dawn" gets the ball rolling on a mystique-imbued note, halfway meditation-friendly material and square-shouldered club busting wares. Moving into Afro-infused house grounds, "Modesty" finds Branko and Niklas heading for the deeper end of the spectrum, as they pull out a clinically precise blender of rattling percussions, opaque incantations, lush synth swashes and verbed-out machine talk, tailored for nightly boogie rituals in the forest. "Avalanche" opts for a more brooding, deadlier approach. Cutting its path away from prying eyes, this one finds Hidden Empire pulling the stealth weaponry to absolute hypnotic effect - perfect for serious in-between peak time business with its thick, thriller-like tension, mist-shrouded atmosphere and surgical focus. Featuring Felix Raphael on vocals, "Who We Are", is a pop-influenced chugger that perhaps best defines Hidden Empire's ambivalent style, both hi-NRG and innervated with a melancholy that infuses down to the bass and most functional elements. Geared up for big-room traction with its seesawing synths and clinical drumwork, Raphael's moving timbre does more than offer a sensible counterpoint to the track's overall sturdy backbone, it takes it to a whole other dimension completely.

"Repeat The Good" ft. Wolfson balances out a fast-ticking groove with those subtle melodic lines Hidden Empire champion to astounding vibrancy, offering a particularly satisfying glimpse into their vortical imaginarium, whereas "Last Call" has us journeying to straight out Moroder-esque territories, flush with the aptly configured palette of fuzzy space disco bass, fast-paced Italo churn and vocodized talk for good measure. All in breaks and chopped-up euphoria, "Vivid" runs the hoodoo down in muscular fashion and with impressive levels of energy throughout, all set at cranking up the heat one notch further, while "Rebel" provides us with the kind of rough-around-the-edges EBM horsepower and neon-clad synth engineering that'll get the basement in a state of alert. Encompassing all of the pair's idiosyncratic merger of styles - from pop-laced Italo to spaced-out techno wares, through jagged motorik and heavily mecched-out jacking house, "Alright" shows off Hidden Empire's wide arsenal of pyrotechnics under the most compelling of lights. A more openly jagged and quirky weapon that hatches into a full-fledged solar number around the half, "Momentum" roars up the club's highway at full throttle, proving a formidable asset when it comes to plunging dancers into a state of weird, left-of-centre euphoria.

A stroboscopic eclipse is predicted as "Dark Sun" enters the room, deploying its obscure wingspan over the ravers, not quite a bad omen as it lets more light in with every bar, its brittle piano lines and heart-wrenching vocals cutting a path into the crowd's pulsating hearts. Graceful as Hidden Empire's music can be, a moment of utter exhilarating beauty. "Savasana" wraps up the voyage with a pure slab of cyphered 4x4 seduction, as an ASMR-like voice guides us across the soul-questioning haze that blankets our pathway onto a luminous finale. A piece of elusive nature, clearly designed for the club and yet telling a tale of off-piste initiation through twelve fascinating movements, "Momentum" will undoubtedly etch on the listeners' mind as one of the German pair's most strikingly powerful emanations.

Download:
1. Hidden Empire - Dawn Interlude
2. Hidden Empire - Modesty
3. Hidden Empire - Avalanche
4. Hidden Empire & Felix Raphael - Who We Are
5. Hidden Empire & Wolfson - Repeat the Good
6. Hidden Empire - Last Call
7. Hidden Empire - Vivid
8. Hidden Empire - Rebel
9. Hidden Empire - Alright
10. Hidden Empire - Momentum
11. Hidden Empire - Dark Sun
12. Hidden Empire - Savasana
13. Hidden Empire & Felix Raphael - Who We Are (Instrumental)

As WIGAN CASINO celebrates its 50th Anniversary you may be forgiven for thinking that those hallowed All-Nighters are but a fading memory from a time passed by. That couldn’t be further from the truth! The impact that it had on the thousands that attended the regular Saturday night gatherings was profound. The spirit of the Casino lives on in the hearts and souls of the faithful and is honoured by the multitude of Soul Nights, All-Nighters, All-Dayers and Weekenders up and down the country throughout the years. Gone, but not forgotten!

The term “Northern Soul” was coined a few years before the inaugural All-Nighter at Wigan Casino – 23rd September, 1973 – but it certainly came of age during its unprecedented eight year reign. It is also encapsulated in the three songs featured here that, collectively, became known as the “Three Before Eight”. The last three records played every Sunday morning, signalling the end of the all-night session.

This special edition anniversary release features all three legendary tracks, and for the first time, sequenced in the same running order as they were played.

Heels & Souls Recordings’ fifth reissue sees them reach across the Atlantic to Vancouver, pressing up Pilgrims Of The Mind’s 'What’s Your Shrine?' for the first time ever on vinyl, 25 years since its CD-only release on Map Music. A departure from the label’s previous releases, the LP is a beautiful smorgasbord of styles - progressive house, downtempo, ambient, tech house and trance all nestle together, a wiggling journey of sonic delight from the mind of Stéphane Novak.

Turn the dial back to ‘97 and Vancouver's underground had a distinctive buzz to its rumblings, an amalgamation of scenes and styles gave rise to a cohort of producers that were unconstrained by genre, offering up a heady mix of sounds to expand the mind. ‘Welcome To Lotus Land’ the key 1996 compilation on Robert Shea’s seminal Map Music, championed much of this output including two cuts from POTM. Stéphane then released his first and only full-length album, ‘What’s Your Shrine?’ on the same label the following year.

Picking out choice moments from an album as considered and complete as this is tough. Those horizontally inclined will be drawn to the ambient dwellings of ‘Sandcastle’ & ‘Following the Sofuto Kuriimo’, tracks like ‘Nothing Can Pull Us Apart’ and ‘L’Amour? Encore?!’ are perfectly suited to warming up limbs on the dancefloor, ‘My Baby Likes Rum’ and ‘Loosejaw’ prime for one in full swing. Yet to pick individual tracks misses the stunning sum of its parts that this 70+ minute cruise is, surely one of the finest albums from the American West Coast during its halcyon days of the ‘90s.

Digging deep in his vaults, Stéphane managed to uncover the original unmastered DATs that have been given a fresh mastering by Justin Drake at the Bakehouse Studios. This beautiful, double-disc gatefold comes complete with liner notes from Ciel, words from Stéphane himself, plus never-before-seen photography - the complete package this music always deserved.

In the same line as volume 01, this format Sauvez Wheelie wishes to give the opportunity to the Lyon-based producers to have releases on vinyl. After Funktroid, Sauna, Cymka & Mid on the ¦rst opus, we have a new luxury cast for this 2nd part with Lost In Material, Sela, Hyas & Botwin. A new V.A of 4 tracks with rave vibes between acid, trance, garage sounds and mental stuff.

On April 7th electronic luminary Nathan Fake presents the new longplayer ‘Crystal Vision’ on his own Cambria Instruments imprint, which features collaborations with Clark and Wizard Apprentice.

This is music for music’s sake – recorded without angles, agendas and themes – so Fake was free to simply continue honing his craft and express himself non-literally. Aptly titled, there’s a clarity of execution and ambition, and a peak effectiveness to the record that just sounds right.

Continuing to set a personal bar higher and topping his own best, the mark of master craftsperson is everywhere, but that doesn’t mean it’s polished; There’s plenty of rawness evident, with spiky sonics keeping ears on high alert – full of endorphin-flooded rave energy.

Following a short, scene-setting ‘Arrival’ – a simple major chord arpeggio played on a Jupiter 6 which sounds like curtains opening at dawn, things begin apace with ‘The Grass’, which hurtles like a precision-tuned bullet train through Arctic tundra. The undulating effect of compression is emphasised by the classic techno trope where 2 rhythms jar yet interlock, creating an exquisitely disorientating strobe-like flutter. On the track’s guest, Fake comments, “I fell in love with Wizard Apprentice's ‘I Am Invisible’ and felt our musical styles were similar. Their vocals are smooth and clear and sharp at the same time. They’re like a calm within the storm.”

Inspired by Italo disco but sounding wholly alien and futuristic, ‘Vimana’’s fizzing buzzsaw arpeggiated bassline, popping snares and bright whirling melody are equally an electro trance melange, with an effervescent major chord Arp that kicks in midway.

Reminiscent of what used to be called ‘funky techno’ but with sparklier sounds, ‘Boss Core’ blinds like sunshine bouncing off ice. Using his trusty Boss DR550 drum machine, and inspired by Autechre's ‘Vose In’, the track peaks by reaching that melancholic/euphoric axis for which he is loved.

With chugging slow breakbeats not a million miles from Board Of Canada or trip hop, ‘Crystal Vision’ rolls along, with the melody opening up, revealing more hidden notes as it progresses, building into a fractal, kaleidoscopic mosaic.

An emotional outpouring with serotonin surging through the circuitry, classic breakbeats and layers of lazers, ‘Bibled’ has all the hallmarks of a classic. This is a bonafide festival-set closing, hugging-your-mates, moment – or, with its guitar solo, “a power ballad” – as Nathan calls it.

A minimalistic moment of calm midway through the album, ‘CMD’’s gently comforting dreamscape is conjured with FM stacked and detuned sine waves which are left to breathe, whilst the chunky Chicagoan house jack of ‘Hawk’ brings to mind classic Relief records, but even more detuned and wibbly, and laden with synths.

As the title suggests, ‘Amen 96’ is in Fake’s own words, “me having a go at jungle. I grew up listening to it, and I remember as a teenager it sounded like the most intense and otherworldly music ever. It still does. This track is an experiment to see how my melodic style works against amen breaks”. Closer to the braindance end of the spectrum than ‘proper’ jungle (and all the more interesting for it), Fake channels the spirit of Squarepusher but makes it his own, brimming with melodious twinkle.

A collaboration with Nathan’s close friend and genuine musical hero Clark. ‘Outsider’ finds this dream team alchemising pure gold that’s bigger than the sum of their parts. Skittering, intense, far-reaching end epic, the pair close proceedings on a grandly dramatic note. In 2020 Nathan released the album ‘Blizzards’, which was described by The Quietus as “his best work”, and “his best LP yet” yet by Resident Advisor. The equally well received ‘Blizzards Remixes’ EP which featured Afrodeutsche and Irene Dresel followed in 2021, as did a nationwide UK tour.

An in-demand remixer, Fake has added his magic to tracks by Radiohead, Clark, Perc, Jon Hopkins, GoGo Penguin, Dominik Eulberg, Christian Löffler and Damian Lazarus, working for labels including Ninja Tune, Domino, Warp, Blue Note and Kompakt.

Brainwaltzera returns to FILM with a brace of archive recordings in the artist's characteristically idiosyncratic style.

The collection opens with FMsquared royal wavetable mellodies A, a mesmerizing beatless composition split across two contrasting movements. Synth-focused, the first explores a more introspective tone whilst the second is decidedly more elevated and playful. Follow up good endgar showcases the artist's enviable talent for crafting rolling, wide-open IDM, marrying crisp drum machine hits with washed out pads and a resonant bassline. WSsquared royal wavetable mellodies B follows the same pattern as mellodies A, split once again into two movements. This time each movement is markedly more distinct: the first, an atmospheric, half-time dirge and the second a more uplifting and esoteric workout, with crystalline FX breaking up the composition. On LANsqape4 short_oneTake Brainwaltzera lets the drums roll out, underpinning more lush synth work with a hint of a break closing in as the piece subsides near its close. Copperfeel, the penultimate offering, is the most reduced work in the collection with a single main melody doing the bulk of the legwork, and buoyed by vocal-sounding synths. FMsquared epiloggy beauvine bonus perc version closes the collection, a pleasing bookend that sees the riff from the opening track's latter movement return - now underpinned with rolling drums.

a A1. FMsquared royal wavetable mellodies A

c A3. WSsquared [royal wavetable mellodies B]

[e] B2. FMsquared [epiloggy] [beauvine bonus perc version]
[short_oneTake]

If you were smart enough to get your grubby paws on the first Scrap Metal compilation, you probably have a pretty good idea of what you’re in for with our second installment. Featuring long-lost gems from ultra-rare 45s and private press singles—plus one previously unreleased banger—Scrap Metal 2 maintains a steady NWOBHM course. Packed with infectious outliers and supremely talented one-and-done metal warriors from the crucial British movement of the late ’70s and early ’80s (and some killer American obscurities inspired by them), this collection delivers all the fist-pumping, riff-mongering and flashy solos of heavy metal’s golden age. As always, every track has been officially licensed and every artist gets paid. As a late entry into the NWOBHM sweepstakes, JJ’s Powerhouse was formed in Merseyside, England, by guitarist Jon “J.J.” Cox with members of his previous band, Quad. Much like the opener to the original Scrap Metal comp, you can hear early Metallica coursing through this legendary ripper. Coincidentally, this ultra-rare 45 was released in ’83, the same year as Kill ’Em All. Taking their name from a 1978 sci-fi novel by Marion Zimmer Bradley, Welsh super troopers Storm Queen reveled in animal-print clothing and flying Vs. The Motörhead-meets-Priest anthem “Raising the Roof” is the flipside to their only single, which the band self-released in 1982. Led by guitarist Dave Morse, Storm Queen’s earliest lineup included bassist Bryn Merrick (RIP), who would go on to join The Damned. Roaring out of Birmingham, England, in 1975, Jameson Raid palled around with fellow Brummies Black Sabbath and named themselves after a failed 19th century attack that helped kick off South Africa’s Second Boer War. Their three-song 1979 debut featured the infectious “It’s a Crime,” which comes across like a deadly hard-glam version of Budgie. Still fronted by vocalist Terry Dark, they’re going strong as of 2022. A.R.C., a punky proto-metal group from the UK, released the boozy single “Home Made Wine” b/w “The Chase” in 1979 and—as far as we know—were never heard from again. They’re not to be confused with a gang of Tolkien enthusiasts also called A.R.C., who released two NWOBHM singles in the early ’80s and actually were heard from again. Nonetheless, the A.R.C. we have here was led by a thirsty lad named Klaus Brunnenkant, who liked to rock n’ roll all night and party every day. Both sides of Metropolis’ sole single bear the legend, “Unauthorized duplication shall result in getting your ass beat.” This San Jose metal squad released their only single in 1986 and dedicated it to Metallica bassist Cliff Burton, who had recently been killed in a bus accident. “The Raven” is the serpentine NWOBHM- and Edgar Allan Poe-influenced flipside to “Time Heals Everything,” and yeah, you can hear the guitars going out of tune on the solo, but that’s part of the charm. Of the two dozen or so metal bands that have called themselves Prowler over the years, we’re pretty sure this particular Prowler is the only one from San Diego. These dudes take a thrashier approach than most of the bands here on Scrap Metal 2: “Temporary Insanity” strikes a deft balance between early Anthrax and early Testament, with just enough hard rock swing to keep it from getting overly staccato. Self-released in ’86 as the band’s only single, the song is the flip to “I Love It.” Not much is known about Christian Steel beyond this: They put out their only single in 1983, which boasted “Need Your Love” as the flip to “I Don’t Want To.” The former, included here, sounds kinda like a dizzy, more metallic version of ’70s Jersey rockers Starz, who famously influenced the likes of Mötley Crüe, Poison and Twisted Sister. Ohio guitarist/vocalist Marty Soski’s career dates back to at least 1969 with the Inside Experience track “Be On My Way,” which we unearthed for our own Brown Acid: The Third Trip. This time, we’ve got a monster Soski cut that he recorded under the name Black Rose. Released in 1982, the absolutely smokin’ “Sidewinder” was the A-side on the band’s sole single. The main riff isn’t far off from Y&T’s major-label banger “Mean Streak,” which was released the following year. When Dark Age titled their 1987 album The Youngest Metal Band in the World, they weren’t even sort of kidding. Legend has it that “Star Trippin’,” which was released as a single a year earlier, was written by guitarist CJ Rininger when he was just 12 years old. His brother Dave, the vocalist, was two years younger. Old photos of the band—complete with pineapple haircuts—seem to bear this story out. Either way, the song is pure flash metal, conjuring Sunset Strip sleaze all the way from Ohio. By now, all you heads know Los Angeles magic men Sorcery from their storied appearance in—and soundtrack for—the death-defying Ozploitation flick Stunt Rock. What we have here in “Whales” is a previously unreleased track from the same 1978 recording sessions. It’s a little bit Zeppelin, a little bit prog, and a whole lotta thundering riffage. Why this languished in the vaults for so long is anyone’s guess. Better late than never!

If you were smart enough to get your grubby paws on the first Scrap Metal compilation, you probably have a pretty good idea of what you’re in for with our second installment. Featuring long-lost gems from ultra-rare 45s and private press singles—plus one previously unreleased banger—Scrap Metal 2 maintains a steady NWOBHM course. Packed with infectious outliers and supremely talented one-and-done metal warriors from the crucial British movement of the late ’70s and early ’80s (and some killer American obscurities inspired by them), this collection delivers all the fist-pumping, riff-mongering and flashy solos of heavy metal’s golden age. As always, every track has been officially licensed and every artist gets paid. As a late entry into the NWOBHM sweepstakes, JJ’s Powerhouse was formed in Merseyside, England, by guitarist Jon “J.J.” Cox with members of his previous band, Quad. Much like the opener to the original Scrap Metal comp, you can hear early Metallica coursing through this legendary ripper. Coincidentally, this ultra-rare 45 was released in ’83, the same year as Kill ’Em All. Taking their name from a 1978 sci-fi novel by Marion Zimmer Bradley, Welsh super troopers Storm Queen reveled in animal-print clothing and flying Vs. The Motörhead-meets-Priest anthem “Raising the Roof” is the flipside to their only single, which the band self-released in 1982. Led by guitarist Dave Morse, Storm Queen’s earliest lineup included bassist Bryn Merrick (RIP), who would go on to join The Damned. Roaring out of Birmingham, England, in 1975, Jameson Raid palled around with fellow Brummies Black Sabbath and named themselves after a failed 19th century attack that helped kick off South Africa’s Second Boer War. Their three-song 1979 debut featured the infectious “It’s a Crime,” which comes across like a deadly hard-glam version of Budgie. Still fronted by vocalist Terry Dark, they’re going strong as of 2022. A.R.C., a punky proto-metal group from the UK, released the boozy single “Home Made Wine” b/w “The Chase” in 1979 and—as far as we know—were never heard from again. They’re not to be confused with a gang of Tolkien enthusiasts also called A.R.C., who released two NWOBHM singles in the early ’80s and actually were heard from again. Nonetheless, the A.R.C. we have here was led by a thirsty lad named Klaus Brunnenkant, who liked to rock n’ roll all night and party every day. Both sides of Metropolis’ sole single bear the legend, “Unauthorized duplication shall result in getting your ass beat.” This San Jose metal squad released their only single in 1986 and dedicated it to Metallica bassist Cliff Burton, who had recently been killed in a bus accident. “The Raven” is the serpentine NWOBHM- and Edgar Allan Poe-influenced flipside to “Time Heals Everything,” and yeah, you can hear the guitars going out of tune on the solo, but that’s part of the charm. Of the two dozen or so metal bands that have called themselves Prowler over the years, we’re pretty sure this particular Prowler is the only one from San Diego. These dudes take a thrashier approach than most of the bands here on Scrap Metal 2: “Temporary Insanity” strikes a deft balance between early Anthrax and early Testament, with just enough hard rock swing to keep it from getting overly staccato. Self-released in ’86 as the band’s only single, the song is the flip to “I Love It.” Not much is known about Christian Steel beyond this: They put out their only single in 1983, which boasted “Need Your Love” as the flip to “I Don’t Want To.” The former, included here, sounds kinda like a dizzy, more metallic version of ’70s Jersey rockers Starz, who famously influenced the likes of Mötley Crüe, Poison and Twisted Sister. Ohio guitarist/vocalist Marty Soski’s career dates back to at least 1969 with the Inside Experience track “Be On My Way,” which we unearthed for our own Brown Acid: The Third Trip. This time, we’ve got a monster Soski cut that he recorded under the name Black Rose. Released in 1982, the absolutely smokin’ “Sidewinder” was the A-side on the band’s sole single. The main riff isn’t far off from Y&T’s major-label banger “Mean Streak,” which was released the following year. When Dark Age titled their 1987 album The Youngest Metal Band in the World, they weren’t even sort of kidding. Legend has it that “Star Trippin’,” which was released as a single a year earlier, was written by guitarist CJ Rininger when he was just 12 years old. His brother Dave, the vocalist, was two years younger. Old photos of the band—complete with pineapple haircuts—seem to bear this story out. Either way, the song is pure flash metal, conjuring Sunset Strip sleaze all the way from Ohio. By now, all you heads know Los Angeles magic men Sorcery from their storied appearance in—and soundtrack for—the death-defying Ozploitation flick Stunt Rock. What we have here in “Whales” is a previously unreleased track from the same 1978 recording sessions. It’s a little bit Zeppelin, a little bit prog, and a whole lotta thundering riffage. Why this languished in the vaults for so long is anyone’s guess. Better late than never!

Winston Surfshirt's album Sponge Cake is a critically acclaimed and highly anticipated body of work that showcases the Australian singer-songwriter's unique blend of soul, funk, and hip-hop. The album, which was released in 2017, has been widely praised for its catchy hooks, intricate production, and thought-provoking lyrics. Now, fans of Winston Surfshirt and vinyl enthusiasts alike can purchase a physical copy of Sponge Cake on vinyl. Whether you're a longtime fan or discovering Winston Surfshirt for the first time, Sponge Cake on vinyl is an album you won't want to miss.

Featuring “Christine F,” “Nostalgia” and “All Is Lost.” First Time Available on Vinyl since 2017. Surf Curse has over 8 million monthly listeners on Spofity. Expanding on the signature surf/garage rock sounds from their debut album Buds, Surf Curse emerge on Nothing Yet retaining the same infectious formula, but with more wisdom and finesse. Trading the angst for self-reflection, and sprinkling in flourishes of synthesizer and other slick production choices, the sophomore album sees the band truly finding their voice as songwriters and instrumentalists. Upbeat tracks like The Strange and the Kind will deliver the same wistful heart pounding choruses Surf Curse fans love, while album closer Falling Apart is new territory for the band. Forgoing drums for a sparse guitar ballad with backing harmonies and haunting synth pads, it’s a hint of the versatility the group would come to display on future projects.

Lyburnum Wits End Liberation Fly was the one and only full-length album by experimental post-punk innovators, Moss Icon . Recorded in 1988, Lyburnum would not be released until 1993 - several years after Moss Icon 's demise. Originally released on Vermiforn - the esoteric noise label founded by Sam McPheeters of Born Against - the vision that Moss Icon 's Tonie Joy had for Lyburnum failed to manifest in its finished product. Of the process of preparing Lyburnum for its eventual release, Joy recalls, "My creative mind was well into its next chapter, onto an apocalyptic order referring to Joy's post- Moss Icon band, Universal Order of Armageddon . Getting Lyburnum to look like what I envisioned in my mind became an uphill battle that involved misplaced photos, misunderstood instructions by the printer, increasing apathy, and lack of advanced printing knowledge (on my part), amongst many other technical and creative issues. With a deadline near it ended up being an it-is-what-it-is situation. Some corrections were attempted for the second pressing the following year, but a further lack of coordination between various parties saw it losing even more of the original vision." Despite these challenges and shortcomings, Lyburnum Wits End Liberation was instantly cherished as a feral masterpiece - a singular entity that would become a defining influence on post-hardcore and emo in the 1990s and beyond. Nothing before sounded like this, and nothing since has quite captured the same mysterious fury. Now, finally, Moss Icon 's seminal Lyburnum Wits End Liberation Fly LP will be released exactly as it was always intended to look, sound, and feel. The artwork has been fully restored, and includes previously unpublished photos that were inadvertently missing from the original release. Brilliantly remastered by Alan Douches at West West Side Music, the vinyl has been newly cut by Bob Weston at Chicago Mastering Service, and pressed onto audiophile-grade vinyl at Record Technology Inc.

CRYSTAL CLEAR VINYL
Lyburnum Wits End Liberation Fly was the one and only full-length album by experimental post-punk innovators, Moss Icon . Recorded in 1988, Lyburnum would not be released until 1993 - several years after Moss Icon 's demise. Originally released on Vermiforn - the esoteric noise label founded by Sam McPheeters of Born Against - the vision that Moss Icon 's Tonie Joy had for Lyburnum failed to manifest in its finished product. Of the process of preparing Lyburnum for its eventual release, Joy recalls, "My creative mind was well into its next chapter, onto an apocalyptic order referring to Joy's post- Moss Icon band, Universal Order of Armageddon . Getting Lyburnum to look like what I envisioned in my mind became an uphill battle that involved misplaced photos, misunderstood instructions by the printer, increasing apathy, and lack of advanced printing knowledge (on my part), amongst many other technical and creative issues. With a deadline near it ended up being an it-is-what-it-is situation. Some corrections were attempted for the second pressing the following year, but a further lack of coordination between various parties saw it losing even more of the original vision." Despite these challenges and shortcomings, Lyburnum Wits End Liberation was instantly cherished as a feral masterpiece - a singular entity that would become a defining influence on post-hardcore and emo in the 1990s and beyond. Nothing before sounded like this, and nothing since has quite captured the same mysterious fury. Now, finally, Moss Icon 's seminal Lyburnum Wits End Liberation Fly LP will be released exactly as it was always intended to look, sound, and feel. The artwork has been fully restored, and includes previously unpublished photos that were inadvertently missing from the original release. Brilliantly remastered by Alan Douches at West West Side Music, the vinyl has been newly cut by Bob Weston at Chicago Mastering Service, and pressed onto audiophile-grade vinyl at Record Technology Inc.

The sound of the classic period of Psychic TV - featuring Peter Christopherson and Geff Rushton (John Balance) of COIL, this full show is interspersed with recordings of the Pagan marriage between Genesis and Paula P-Orridge conducted by Sveinbjörn Beinteinsson Allsherjargodi. Psychic TV at their most esoteric, their most ritual, and often most extreme, a perfect accompaniment to the legendary 'Dreams Less Sweet' album of the same year. "Thee First Will To And Testament Ov Psychic TV. All our works remain interconnected, interfaced, and intentional. Thee Process is thee Product". These recordings of a live disconcert by Psychic TV in Reykjavik, Iceland that took place November 1983 organised by HÖH and GRAMM Records, to whom, eternal and infernal thanks all ways.

blueblue is the latest full-length from multi-instrumentalist and all-around vibe wizard, Sam Gendel. The record, out via Leaving Records, is a concise, tightly wound song suite whose 14 tracks each correspond to a pattern within sashiko, a traditional style of Japanese embroidery. This conceit remains playfully ambiguous — to what extent, if at all, is Kagome (woven bamboo) meant to evoke the pattern of the same name, for example? But there is an intuitive sense, throughout blueblue, that Gendel has, in this instance, narrowed his focus. To say that blueblue feels richly textural might be a little on-the-nose, thematically, but alas…it does. There is an intimacy, a humility, and a strength at play here that typifies the work of a master craftsman. Only an artist could make it sound so effortless.

A Los Angeleno by way of Central CA, Gendel is by now an institution. Across a dizzying slate of solo releases and collaborations, he has amassed a reputation for not only virtuosic musicianship (primarily as a saxophonist, though the songs that would become blueblue were all initially composed on guitar), but also for his mercurial and prolific output — a corpus of work, which, while obviously indebted to jazz and hip hop (and the farther flung, experimental corners of both) is, in a word, unpindownable.

The bulk of blueblue was recorded in isolation in a makeshift studio built in a cabin floating atop a tributary of Oregon’s Columbia River. Having sketched out a set of guitar melodies, Gendel recorded the album in five-or-so weeks, during which time he became well-acquainted with the river’s tidal rise and fall. This organic rhythm, which daily lifted the house to meet the horizon, later setting it down gently upon the riverbed, permeates t

Standard Black Vinyl LP w/ Foil stamped jacket, printed inner sleeves + DL card. Legendary Tacoma, Washington mathcore/hardcore/metal band Botch's debut full-length American Nervoso was originally recorded in 1998, eventually becoming one of the most ground-breaking records during a pivotal shift in heavy music. Now, the band's debut album is set to be re-issued on Sargent House 25 years after its original release. The album features white-hot guitar action, scathing vocals, sweet bass moves, and torrential drums, smashing existing precepts of hardcore and redefining both the word and the music for a generation of kids and grizzled vets alike. Bassist Brian Cook, guitarist David Knudson, drummer Tim Latona, and vocalist Dave Verellen formed Botch in 1993, eventually becoming one of the most significant bands of their time. Their final show was June 15, 2002, the same day as the release of their final EP, An Anthology of Dead Ends. The members would go on to play in These Arms Are Snakes, Minus the Bear, and Russian Circles, among others, with acclaim for the band coming mostly post-breakup. Over 20 years since they played their final show, Botch are reuniting for select dates in the Pacific Northwest in February 2023. 25th anniversary re-issue of Botch's critically lauded debut album. Botch have their first live performances in over 20 years for early 2023. Botch have been included on "Most Influential lists" by outlets like Decibel, Rock Sound, Alternative Press, A.V. club + more

The "Punctual Problems" EP is the first solo release of Paul Prier, who has already accompanied artists such as Charlotte Gainsbourg, Christine & The Queen or Woodkid on stage or in the studio.

The record is in perpetual balance between a learned music, inspired harmonies and an impeccable production and the desire to propose a pop record accessible to all.

Ex-member of the electro-pop duo Toys and decisive stage man on the keyboard for Charlotte Gainsbourg, Christine & The Queens and Woodkid, Paul Prier is the brand new signature of the Research and Development house (Jacques, Miel de Montagne, PPJ). With his first EP "Punctual Problems", the Parisian finally presents himself alone, with the audacity to turn his phobias into strengths and the elegance to make them light.

We can better appreciate what Punctal Problems means - and what drives its engine. All the technique (his classical and jazz training), the hard work (an obsession with detail that is the lot of arrangers), the erudition (always ready to talk about harmonies with Stevie Wonder or choruses with Thundercat), are here only to serve the beauty of simple and limpid melodies, that we will hum everywhere. Inner dialogues, self-critical and tender at the same time, disguised as love songs so that everyone can project themselves into them. "It's harder to make a really good, sophisticated pop song that speaks to everyone than an ultra-codified jazz song reserved for a niche. In pop, anything goes, so it's all a matter of dosage. That's why Paul Prier can do a hundred versions of a song before he finds the right one... and too bad if it's the first.

ShitKid is the project of 24-year- old Åsa Söderqvist who made her debut last spring with a self-titled debut EP, which quickly propelled her into being one of the most talked about new acts in Sweden. The three-track ShitKid EP was released via the Stockholm based label PNKSLM Recordings in the spring of 2016 to great acclaim, reaching far beyond its lo-fi confines to find fans at the likes of The FADER, Pigeons & Planes and SPIN internationally, while her debut single "Oh Please Be A Cocky Cool Kid" appeared on national TV in Sweden the morning after it was released. An expanded version of the debut EP was released in the summer of 2016, which saw ShitKid playing several Swedish festivals before making her debut international appearances in the fall, alternating between playing to full houses in London and monthly shows in her new hometown Stockholm. Now ShitKid is ready to announce her long-awaited debut lp - titled "Fish" it's due for release on June 2 via PNKSLM Recordings on vinyl, cd and digitally. Recorded during the same sessions as "EP 2"it's another step on ShitKid's musical journey - offering up a sound that's clearer than the lo-fi murkiness of the debut EP but still very much the opposite to the slick pop dominating the musical landscape today. ShitKid will be doing select festival shows during the spring, leading up to a UK and EU tour around The Great Escape ahead of the album before spending the summer on the road with slots at ex Roskilde Festival announced already, with a lot more UK and EU dates TBA. Fish is written, recorded, performed and produced by Åsa Söderqvist and mixed by Simon Skeleton.

40th Anniversary Edition - newly remastered from the master tapes, with an additional bonus LP of instrumentals and the previously unreleased "Narration Theme."
Daytime Viewing (1979-80) is an extended narrative song, based on a casual analysis of daytime television drama and the audience phenomena such programming addresses. The piece explores the use of fantasy as a survival mechanism against loneliness, illustrating the human compulsion to inflate the mundane to mythological proportions. A central female character weaves tales, using threads of personal experience and the idea of TV as friend, as mantra, and as transformational window between imagined spectacle and the pedestrian plane.
Originally released as a private cassette edition recorded, 1982; Chez Hum-Boom release, 1983 documenting the collaborative performance piece of the same name by Jacqueline Humbert g David Rosenboom. This heady, thoroughly enjoyable work was first made available on CD and LP in 2013 by Unseen Worlds. Jacqueline Humbert (aka J. Jasmine) is a songwriter of brains and wit on
par with Robert Ashley, with whom she's worked extensively. David Rosenboom's complex, harmonic electronic arrangements are accentuated brilliantly by percussion from William Winant. Daytime Viewing can happily be added.

Red Vinyl

ASSASSINS did what many bands do: they grabbed a moment out of the air and slammed it onto tape machines and hard drives with relentlessness, cunning, and an attitude.
It was in Chicago, mid 2000’s, and though there was energy in the music scene, it wasn’t coalescing into anything you could use as a heading in the musical encyclopedia. Drag City, Thrill Jockey, Bloodshot, Tortoise, Andrew Bird, 90 Day Men – amazing labels and bands, but discrete and siloed and separated by boundaries that weren’t very real.
In the midst of that complicated morass, ASSASSINS generated a collection of songs that became the album YOU WILL CHANGED US. And it did.
There was confidence built into the fabric of the project: 5 members, 2 singers, massive synced video walls and samples streaming from laptops swirling in three dimensions around the stage. They could go from subtle atmospheric moments to a gargantuan wall of sound instantly. It was hard to do- months in cold practice rooms troubleshooting sections of songs or reworking synthesizer patches put the band through a self-imposed boot camp. And it brought them together as a sort of hive-mind focused on one thing: that these songs could connect. They could cut through the noise and share a state of mind with other human beings.
And it worked. Those early shows were mind bending. It was fun, loud, drunken, and rewarding- that time together, before the record deal, before the tragic let down of being traded and gobbled up by the major label system. The years after that got more difficult, more complicated, more human.
Leading us here: the musical journey of the Assassins has ended. With the up-coming release of their second and final album THE YEAR THAT NEVER CAME, we finally get to hear, and feel, the final statements of their inspiring chemistry.
In July of 2021, founding member, songwriter and singer Joe Cassidy unexpectedly passed away. THE YEAR THAT NEVER CAME is the culmination and end point of a collaboration that started in the early 2000’s with a chance meeting and excited conversation with Aaron Miller at a gig in Chicago. Quickly joined by David Golitko on keyboards, Merritt Lear on vocals and guitar, and Alex Kemp on bass.
It was Miller who saw Joe Cassidy’s song writing in a new context. Cassidy had been known for his beautiful, post- pop inflected BUTTERFLY CHILD, a thoughtful, regal project where Joe’s emotions could soar. Miller saw a different context for that voice- not dreamy, but immediate, not just hopeful, but demanding. He took Joe’s open hand and suggested that it could be a fist, raised in the air, with a crowd of other people doing the same.
At the time of his death legendary composer and songwriter Jimmy Webb (who wrote such hits as ‘Wichita Lineman and MacArthur Park) said Joe ‘was a creative and generous producer but, more importantly, he was a creative and generous friend.’
With the release of THE YEAR THAT NEVER CAME, this band, this relentless creative force, has to finally relent. No one in the band could see a future ASSASSINS that doesn’t include Cassidy. So in one last act of will, for the love of their friend, they did the rigorous work of finishing the songs that they had started together for the second album.
Assassin’s obsession with the notion of time, from YOU WILL CHANGED US to THE YEAR THAT NEVER CAME, flows from the most natural question we all have to ask ourselves: what do I do now? Because: how we react today to life’s unpredictability - that is the tomorrow we build for ourselves.

The endlessly prolific and unpredictable Richard Youngs returns to Black Truffle with Modern Sorrow. As any Youngs fan knows, one of the great pleasures of following his career comes from not being able to predict what the next entry in his inexhaustible string of releases will bring: Unaccompanied voice? Country songs? Shakuhachi? Guitar pieces played with his feet? Shredding fuzz bass over the top of hyper-speed distorted drum machine beats? Continuing in the grand Youngs tradition of exploring new techniques, instrumentation and approaches while bringing to all of them his idiosyncratic touch, Modern Sorrow serves up two sides of twistedly elegiac, radically stark takes on contemporary pop production. The side-long title track is built from a piano sample, synthetic bass notes and organ swells, and an iterative blurt that seems to have wandered out of a 90s jungle track. Eventually joined by a shuffling drum machine, the track moves very slowly through a series of chords, each delayed long enough that its arrival comes as a major event. Over the top, Youngs’ heavily pitch-corrected voice is heard. The processing paints his signature wandering melodic improvisations with shades of contemporary R&B; at the same time, it cuts the natural swoops and glides of Youngs’ melodies into rapid microtonal trills, giving his voice a quavering, middle eastern feel. Unfolding languorously over more than 17 minutes, the piece’s final minutes make room for an extended drumless coda, returning to the stark palette of its opening moments. On the second side, the two parts of ‘Benevolence’ push this minimalism ever further, its first half consisting of nothing more than a remarkably slow drum machine hit, bass-heavy chords and pitch-corrected voice, here so heavily processed that it starts to resemble a shawn solo. In its second part, the harmonic foundation drops out from under the piece while two more voices join; at some moments the voices pause, leaving nothing more than isolated, metronomic drum hits. Though Youngs has explored the sound worlds associated with dance music and contemporary pop in previous work, here these elements are radically reduced, foregrounding a meditative bed of silence with a boldness equal to any more academically inclined contemporary composer. Embracing the accessible digital tools of contemporary music production just as at another moment he would pick up a kazoo, like much of Youngs’ work Modern Sorrow uses simple DIY tools to generous ends, producing formally radical music that remains both free from pretension and deeply moving.

The sound of the classic period of Psychic TV - featuring Peter Christopherson and Geff Rushton (John Balance) of COIL, this full show is interspersed with recordings of the Pagan marriage between Genesis and Paula P-Orridge conducted by Sveinbjörn Beinteinsson Allsherjargodi. Psychic TV at their most esoteric, their most ritual, and often most extreme, a perfect accompaniment to the legendary 'Dreams Less Sweet' album of the same year "Thee First Will To And Testament Ov Psychick TV. All our works remain interconnected, interfaced, and intentional. Thee Process is thee Product". These recordings ov a live disconcert by Psychic TV in Reykjavik, Iceland that took place November 1983 organised by HÖH and GRAMM Records, to whom, eternal and infernal thanks all ways. Out of print for 23 years, this is the ultimate edition for Psychick Youth - meticulously remastered, with the track order finally arranged into what was the original show. Available as ltd white vinyl 2LP w/ inserts, classic black 2LP w/ inserts and CD in glossy digipak with 12-page booklet.

The undisputed kings of garage rock are back! It’s been 22 years since the last Headcoats album, but now Billy, Bruce, and Johnny return with a brand-new studio album!

Recorded last year at Ranscombe Studios in Rochester. Billy, Bruce, and Johnny kindly answered some pertinent questions…You got back together recently as Thee Headcoats Sect to make the ‘Tribute to Don Craine’ EP. What was it like working with each other again after all this time? BILLY: It was 'fab' and 'gear.' BRUCE: The weirdest thing for me was how weird it wasn't.

It was like time compressed, but to the 'good old days', early on. I was wary that it 'wouldn't be like Thee Headcoats', but it was. JOHNNY: I'm with Bruce and Billy on that one. I think we were all surprised how it all just worked. If I remember correctly, we kicked off role playing like we detested each other. Then we got started and well, you can hear the result.

What were the first songs you ran through when you got in the studio? BILLY: That’s a very good question. No idea. BRUCE: I can't remember. They all sound the same to me. JOHNNY: Bill had stuff on his phone that went “KSSHHCCCKSSHHHH”! So, we did that first. You’ve also paid tribute to Don with a track on the Irregularis album – ‘Oh Leader We Do Dig Thee’.

He was, along with the other members of Downliners Sect, a big inspiration to Thee Headcoats. When did you first become aware of his music and what was he like to work with? BRUCE: We were given (or possibly lent) a reissue of the Sect's first LP around 1977, marketed as 'Punk From The Vaults', which certainly floated our boats and definitely popped our corks, due to the somewhat aggressive yet carefree nature of the tunes and sound in general. Ollie, our old bassist, found an ad in a trade magazine for them with a contact number for a Michael O'Donnell, which I excitedly called almost immediately.

T'was none other than Don his'self and we managed to convince him into venturing down to Rochester to record some tunes with us which became the first Headcoat Sect EP. We were fairly starstruck and presented him with a brand new 'dearstalker' (or 'Headcoat', as they were now known). He was very accommodating and a great laugh and spent the evening with us, regaling us with tales of yore. I recorded a lot of it on cassette, which I may still have somewhere. Gawd bless Don

Lyburnum Wits End Liberation Fly was the one and only full-length album by experimental post-punk innovators, Moss Icon. Recorded in 1988, Lyburnum would not be released until 1993 several years after Moss Icon’s demise.

Originally released on Vermiforn – the esoteric noise label founded by Sam McPheeters of Born Against – the vision that Moss Icon’s Tonie Joy had for Lyburnum failed to manifest in its finished product. Of the process of preparing Lyburnum for its eventual release, Joy recalls, “My creative mind was well into its next chapter, onto an apocalyptic order referring to Joy’s post-Moss Icon band, Universal Order of Armageddon.

Getting Lyburnum to look like what I envisioned in my mind became an uphill battle that involved misplaced photos, misunderstood instructions by the printer, increasing apathy, and lack of advanced printing knowledge (on my part), amongst many other technical and creative issues.

With a deadline near it ended up being an it-is-what-it-is situation. Some corrections were attempted for the second pressing the following year, but a further lack of coordination between various parties saw it losing even more of the original vision.”

Despite these challenges and shortcomings, Lyburnum Wits End Liberation was instantly cherished as a feral masterpiece a singular entity that would become a defining influence on post-hardcore and emo in the 1990s and beyond.

Nothing before sounded like this, and nothing since has quite captured the same mysterious fury. Now, finally, Moss Icon’s seminal Lyburnum Wits End Liberation Fly LP will be released exactly as it was always intended to look, sound, and feel. The artwork has been fully restored and includes previously unpublished photos that were inadvertently missing from the original release.

Brilliantly remastered by Alan Douches at West West Side Music, the vinyl has been newly cut by Bob Weston at Chicago Mastering Service, and pressed onto audiophile-grade vinyl at Record Technology Inc.

Lyburnum Wits End Liberation Fly was the one and only full-length album by experimental post-punk innovators, Moss Icon. Recorded in 1988, Lyburnum would not be released until 1993 several years after Moss Icon’s demise.

Originally released on Vermiforn – the esoteric noise label founded by Sam McPheeters of Born Against – the vision that Moss Icon’s Tonie Joy had for Lyburnum failed to manifest in its finished product. Of the process of preparing Lyburnum for its eventual release, Joy recalls, “My creative mind was well into its next chapter, onto an apocalyptic order referring to Joy’s post-Moss Icon band, Universal Order of Armageddon.

Getting Lyburnum to look like what I envisioned in my mind became an uphill battle that involved misplaced photos, misunderstood instructions by the printer, increasing apathy, and lack of advanced printing knowledge (on my part), amongst many other technical and creative issues.

With a deadline near it ended up being an it-is-what-it-is situation. Some corrections were attempted for the second pressing the following year, but a further lack of coordination between various parties saw it losing even more of the original vision.”

Despite these challenges and shortcomings, Lyburnum Wits End Liberation was instantly cherished as a feral masterpiece a singular entity that would become a defining influence on post-hardcore and emo in the 1990s and beyond.

Nothing before sounded like this, and nothing since has quite captured the same mysterious fury. Now, finally, Moss Icon’s seminal Lyburnum Wits End Liberation Fly LP will be released exactly as it was always intended to look, sound, and feel. The artwork has been fully restored and includes previously unpublished photos that were inadvertently missing from the original release.

Brilliantly remastered by Alan Douches at West West Side Music, the vinyl has been newly cut by Bob Weston at Chicago Mastering Service, and pressed onto audiophile-grade vinyl at Record Technology Inc.

Steve Gunn and David Moore's Let the Moon be a Planet is a volume of improvisatory exchanges between classical guitar and piano, and a meeting place where two artists become acquainted through instrumental dialogue without a single expectation distracting them from the joy and open field possibility of collaboration. A project enveloped by an aura of reciprocity, Let the Moon Be a Planet unfolded from an invitation to connect between two New York-based musicians who admired each other's work but had never intersected: guitarist and songwriter Steve Gunn, whose solo, duo, and ensemble recordings represent milestones of contemporary guitar-guided material, and pianist and composer David Moore, acclaimed for his minimalist ensemble music as the leader of Bing & Ruth. The exchange began remotely as Gunn and Moore responded to one another's solo improvisations, embarking on a synergistic progression of deep listening and connection through musical conversation. "We were both fans of each other's music and this was a chance to try a different process which was much more open," says Moore. "It felt like something I needed personally as an artist, to not be so controlling over the final output, and to truly collaborate with somebody else." Similarly for Gunn, who was exploring new pastures and passages in classical guitar when the dialogue began, the project was an invitation for pure conversation and exchange, creating space for him to revisit foundational forms with his playing: "I was trying to break out of what I was doing, to have something that just pulled away all the elements of usual structured things." Let the Moon Be a Planet intertwines the trajectories of two musicians acclaimed for pushing the boundaries of their instruments, unified by a shift away from what they recall as more "detail-oriented" approaches to composition. Fueled by the magnetism of their call and response exercise, Gunn and Moore set out on a nomadic songwriting venture without an intended destination. "We didn't know it was going to be an album," Gunn explains. "There was never pressure on us to complete or make something. It was interesting to start realizing that this could be an album and to take a step back_ to arrive at a project after the fact." Calibrating their focus to connect with a spectrum of inner and external emotional realities, the duo found their way into a world where the most subtle of gestures can eternally flow. Let the Moon be a Planet is an ode to experimentation over outcome; it holds a candle light to the corners of introspection and captures the patterns that flicker within. Cast across the compositions of the album is a gritty, filmic grain _ a quality that emerged partially from recording "without the greatest microphones" or their usual studio environments. For both artists, this lo-fi sensitivity felt integral to the record and its production, and they worked closely with engineer Nick Principe to preserve its otherworldly haze in the final mixes. Across the record's eight compositions, the rippling impulses of Gunn and Moore's inner worlds converge in the spirit of two strangers wandering the same path, engaged in a daydream state of natural back and forth. Melodic tableaux arise, drift and disperse across serene open spaces, painted in earthy hues of nylon string and balmy, undulating keys _ side by side, the duo converse in tessellating motifs and gestures of lucid introspection, cultivated by a shared desire for intuitive play. "This project was such a simple idea," says Gunn. "It got down to the very core of where I am or where I was, and where I'm trying to be as a musician. Making this record became a very beneficial ritual for me, almost a meditative process." As Moore recalls, "Our only motivation for making these tracks was that it felt good to make them and there was nothing else behind it_ I don't know that I've ever made a record that came about so naturally." While Let the Moon Be a Planet was envisioned through a deeply collaborative process, it uncovered a path for Gunn and Moore to respectively return home as musicians. Imbued with the forces of interconnection and balance, the record is an exploration of creative synergy while following the currents of inner experience _ of looking outwards to arrive at one's natural self. Steve Gunn and David Moore's Let the Moon Be a Planet will be released March 31, 2023 in LP, CD, and digital editions. The album represents the first volume of Reflections, a new series of contemporary collaborations orchestrated by RVNG Intl. A portion of the proceeds from this release will benefit St. John's Bread and Life, whose mission is to respect the dignity and rights of all persons by ensuring access to healthy, nutritious food and comprehensive human services resulting in self-sufficiency and stability.

An incredible heart 'n' soul story continues this spring with the release of Reel People's first original album in over a decade, Love2.

Produced by core collective Oli Lazarus, Mike Patto and Toni Economides, and with a fresh vocal line-up including Raheem DeVaughn, Muhsinah, Chantae Cann,

Michael Champion, Paula, Jill Rock Jones, Eric Roberson and Arrested Development's Speech, this super- fine, 10- track opus marks a further powerfulevolution of the Reel People sound.

Weaving contemporary R&B sensibilities into the collective's classic grooved-out flow, Love2 embraces the out- and- out euphoria of love but offers an entirely unique voice.
Love2 is a monumental addition to the Reel People canon, following acclaimed album releases Second Guess, Seven Ways To Wonder and Retroflection. New

songs and sounds, but the same soulful passion and craftsmanship. New friends and flourishes but the same mission to move hearts, minds and dancefloors.

First original Reel People album since 2008 !

Featuring a plethora of US Vocal talents including Raheem DeVaughn, Eric Roberson, Speech from Arrested Development, Chantae Cann, Michael Champion, Paula, Muhsinah & Jill Rock Jones

“Elemental 7 has cast a looming shadow of influence over almost all electronic music since it was made” - Boomkat. Chris & Cosey’s Elemental 7 – available here for the first time in 40 years - is the soundtrack to the film of the same name (on Cabaret Voltaire’s Doublevision video imprint) that saw the duo working once more with John Lacey – Lacey had previously worked with Cosey in COUM Transmissions and introduced Chris Carter to the collective. The album’s highlight and one of their best loved songs, ‘Dancing Ghosts’, sounds as fresh and relevant today as it must have on its original release.

Sintering or frittage is the process of compacting and forming a solid mass of material by heat or pressure without melting it to the point of liquefaction. The material produced by sintering is called sinter. The word sinter comes from the Middle High German sinter, a cognate of English cinder.

Born in the mid-60s, German musician and sound designer Uwe Zahn came on the scene of electronic music with his debut full-length album for DIN, titled “Atol Scrap.” In the very same year of 2000, the influential City Centre Offices label has signed Arovane for his majestic “Tides,” which has withstood the test of time for over two decades now. Back then, electronic music was split between the dance floors and the bedroom listening, with the latter carrying the now-famous acronym for Intelligent Dance Music. And Zahn’s compositions were indeed just that – more than a gimmicky, knob-twisting, stuttering randomization of experimental rhythms and tone, Arovane’s music evoked real emotion which has assembled his followers from around the globe. But his arrival on the scene was more than a predictable trajectory. Zahn’s sound began to take shape in the late 80s when the cut-up hip-hop beats were layered with synthesizer pads and looped samples. This experimentation progressed into what the 90s coined as breakbeat and glitch.

As the 2000s rolled over, and the monumental imprints, such as Skam and Warp, honed their staple repertoire defining the future of electronic music, City Centre Offices had a staple of their own. Often referenced alongside Boards of Canada and Autechre, Arovane’s sound quickly gained a discerning audience, tuning into his melancholic melodies, advanced textures, and complex polyrhythms. The pinnacle of his production was released in 2004, when suddenly, on “Lilies,” Zahn signed off with the final track, which he has titled “Good Bye Forever.” And then there was silence. For nearly nine years, the scene and yours truly mourned the loss of Arovane, assuming that he’s given up. That is until, in 2013, Zahn came out with a brand new album, “Ve Palor,” on the surviving post-IDM imprint, n5MD.

While on hiatus, Uwe spent his time researching, reconnecting, and reflecting on all he’s built. The sound experiments went on, and so did the music scene, morphing, dissolving, re-shaping itself into a new form for new followers. During that time, Zahn spent some time with sound design, creating patches for Access Virus TI, as well as sample packs for various sound developers. After “Ve Palor,” Zahn began collaborating with various musicians from around the world, exploring, directing, and fusing their distinguished sound with his own. On his subsequent releases, he shared credits with ambient artists Porya Hatami, Hior Chronik, Darren McClure, and even yours truly. During our collaboration, Zahn often described the process of building a new vocabulary for our very own defined language, with which my piano spoke through sound.

With nearly two dozen studio releases under his belt, numerous EPs and singles, and just as many appearances on various compilations, Zahn continues to split his time between his fascination with sound design, sonic programming, and musical composition, which sees the light via his ongoing projects, releases, and contributions towards audio plug-ins, software synths, and sound sets for advanced hardware. It’s effortless to slot Zahn’s sound between the genres, scenes, and names, but very difficult to peel apart, define, and then express the essence using words. However, what is simple and essential for the ones who understand, is recognizing, admiring, and subsequently falling in love with all that is encompassing of Arovane. (by Mike Lazarev)

A Late Lunch’ is the soundtrack to Akiko Iimura’s eponymous movie realized in 1978. It is based on acoustic instruments and field recordings, brilliantly reconfigured and mixed by Bekaert to create a surreal, immersive soundscape. The technique used includes superposition and speed change of recordings, radical sound effects and juxtapositions of sounds. The players were prominent musicians of the 1970’s, including Maggi Payne, George Lewis, David Rosenboom and Blue Gene Tyranny.

‘A Summer Day at Stony Point’ was composed in 1969, with participation of David Behrman, Shigeko Kubota and Charlotte Warren. The piece was commissioned by English composer Hugh Davies who presented it at the Harrogate festival the same year. Stony Point is a small village in New York State where John Cage co-owned a small pseudo-commune art resort where like-minded artists gathered. ‘A Summer Day at Stony Point’ is nothing more than a page of a journal, a fragment of a notebook that utilizes a series of sound sources recorded at Stony Point on one beautiful day in the summer of 1968. Other electronic sound sources were recorded at the Brandeis University where Alvin Lucier was professor. The final realization of the piece was done at Henri Pousseur’s APELAC Studio in Brussels, 1969.

The soundtrack for Akiko Iimura’s ‘Mon Petit Album’ was composed on the basis of a simple description of the technique of the film and its time span. It includes David Behrman on alto, from an outdoor recording at Stony Point, plus excerpts from a Transition concert in London, the band Bekaert formed in 1971 with Michel Herr, Takehisa Kosugi and Ryo Koike, both members of the Taj Mahal Travelers. The atmosphere is quiet and pastoral throughout with a very dreamlike flavour.

Jacques Bekaert (1940-2020) was a man of many gifts: author, journalist, composer, photographer, visual artist, wine connoisseur, radio talk show host, diplomat and expert in Southeast Asian affairs. His whole life Bekaert has been actively involved in music but not much of his work got recorded or published. In the early 60’s Bekaert studied with Pousseur and through his frequent visits to the US he became friends with artists like John Cage, David Tudor, Charlotte Moorman and most of all David Behrman with whom he had a close friendship ever since. Bekaert helped organize the first European tour of The Sonic Arts Union (David Behrman, Robert Ashley, Gordon Mumma, Alvin Lucier) and in the early 70’s he formed the group Transition (with Belgian jazz pianist Michel Herr, Takehisa Kosugi and Ryo Koike, both members of the Taj Mahal Travelers). His meeting with Japanese experimental film-maker Akiko Iimura resulted in two film soundtracks featured on this one of a kind discreet avant garde album.

When asked in a 1979 interview about his double life as a musician and a journalist, Bekaert replied, “I suppose they’re both unsafe, unstable, questioning jobs—composing and reporting. Journalism takes me to places, shows me the world as it is. My music is my wish for the kind of world I’d want to live in. The little peaceful state I dream for everyone, where you can be yourself, and happy, and as collective as possible without giving up total privacy.”

Originally released in 1981 on the Belgian Igloo label this reissue comes with the same sleeve as originally designed by Alain Géronnez.

Scotland's hardest of the hardcore Clouds make a surprise return to Perc Trax with Clubmatter, their first appearance on the label since they remixed Perc's 'Dumpster' back in 2014 with Perc returning the favour to remix Clouds' Dread Networks' on Perc Trax in the same year.

Since then they have been busy performing across the globe, collaborating with Randomer on their uncompromising Headstrong project, founding their own Maxiboy imprint and pairing up with Speedy J for a release on his Stoor label.

Across these four tracks Clouds find a perfect balance between rave energy and sleek techno futurism. The rave sounds we all know well are there, but this isn't the same old vocal samples, hoovers and breakbeats we've heard a million times. Instead Cloud resynthesise the spirit of rave and hardcore, fuse it with their techno background and deliver something fresh and new but still fitting into the lineage of hardcore that goes back to the 1990's.

As ever with a Clouds release the visual side is as sharp as the music and the Raf Rennie designed sleeve of Clubmatter keeps this tradition going with a sharp monochrome interpretation of Cloud's musical vision.

Felte Records presents `Glimpse Of Heaven' - a stunning new album by the Hawaii-born, LA-based musician, singer, producer and professional mastering engineer Jess Labrador, AKA Chasms. Labrador's deeply personal work as Chasms has always felt like an unveiling. Following 2019's `The Mirage,' which was a dark, dubby meditation on grief and loss, this new album is both familiar and different. The third full-length under the Chasms name, `Glimpse of Heaven' trades in washes of reverb for starker moments of closeness and intimacy. An exploration of the personal inventory and reckoning necessary to move forward in life, the LP considers not only how we relate to the world, but more importantly how we relate to ourselves. While always distinct, you could previously detect post-punk, shoegaze, and dub sensibilities in the music. Dreamy drift tethered by skittered beats, airy vocals, and melancholic melodies are here like previous efforts too. However, at the same time, Labrador steps into new territory with an expanse of vaporous synths and samples, adding to the project's ethereal electronic pop and dubwise pulse. Lush guitars glisten throughout the album, but this time only in sparse, disciplined embellishments. `Glimpse of Heaven' is a fully realised version of Chasms beyond its influences; to say that this is a seamless evocation of such disparate sounds as Massive Attack, Basic Chanel, Sade, Seefeel and Dif Juz is to say it is wholly unique. While she continues to unfurl her thoughts, there is a shift from opening up to the listener toward allowing the listener to witness her opening to herself. Where the last Chasms record was about various kinds of collapse, `Glimpse of Heaven' is about trying to develop as a whole person. It seems to ultimately be asking whether what we want and what we need align in ways that will get us where we want to be. Can we let go of the comfort of bad habits and steer ourselves toward a less easily obtained but maybe more enduring happiness? `Glimpse of Heaven' is a Chasms record, but really it's a Jess Labrador record. This is the first release operating on her own, and it feels like that's the only way this could have been made. It finds itself in the rare company of those few records that exist within themselves; it's a complete environment. You don't need to know anything to tune in and enjoy the world that she's created. It's a record that feels indebted to itself. It offers premonitions but not directions. It gives us honesty, but doesn't claim to know exactly where that will lead.

Mit "Morphing Polaroids" legt die gebürtige Japanerin und seit 2018 in Berlin lebende Saeko Okuchi alias Saeko Killy ihr Debütalbum bei Bureau B vor. In den letzten Jahren konnte sie sich in der Berliner Szene rund um den Club Sameheads einen Namen als DJ und Live-Künstlerin machen. Nachdem 2021 ihre erste EP "!"#$%&"( )* - Dancing Pikapika" auf dem Osakischen Label Chill Mountain erschien, folgte eine fruchtbare Jamsession während des pandemiebedingten Lockdowns, aus der schließlich die 11 Titel umfassende LP "Morphing Polaroids" hervorging. Das Ergebnis ist ein kontemporärer Leftfield-Clubsound, der mühelos Elemente von Dub, Post-Punk und Kraut mit elektronischen Beats vereint.

Here you have the second EP part of Minimono "Half Way Trough" mini saga.
Bosco050.5 follows the sound of the previous one serving four most exciting electro, italo-disco and acid infected floor burners!
"Run it Back" is a simple and dry tune, has those big cutting edge sounds typical of the early 2000 80's contaminated electro.. perfect for your starting set or in recreating that unique atmosphere.
On the A side follows "Half Way Trough", an effortlessly driving tech-acid house tune, strangely compelling, with a timeless feeling.. looking like an essential weapon for any dancefloor.
B side starts with the spicy electro-disco tune "Over The Machines" epic and functional at the same time with evocative arpeggios and a mechanical vocodered speach.
The Ep ends with the cyberfunk stomper "Revolution" , a twisted electro funk groover in typical Minimono vein.
Fabio Della Torre and Ennio Colaci celebrate this 50th.5 release on Bosconi in great style, remodernising the sound that they used to like when they first met in the early 2000, under the influence of those Berlin labels like Areal, Sender, Festplatten, Funkhaus, Beautycase, Lasergun, Gigolo.. and all of those labels who trademarked the sound of those unforgettable Berlin day

The incongruous, yet glorious, creative partnership between Nancy Sinatra and Lee Hazlewood was well underway when the two singular artists reunited to record 1972’s Nancy & Lee Again, a follow-up to their bestselling duet debut, Nancy & Lee. Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with “These Boots Are Made For Walkin’.” Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy’s solo hits. Soon, the duo found success with a series of duets, including “Sand,” “Summer Wine,” and “Some Velvet Morning” – all of which appeared on their highly-influential 1968 debut.

Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. “Trivial music and not profound music became unimportant,” recalls Nancy, speaking to Hunter Lea. “It was a tough time.” And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together.

Returning to Los Angeles for the project, Hazlewood – who reprised his role as producer – chose to take a new direction with the duo’s sophomore album. Nancy recalls, “It was more dramatic; it was more fun to do, more challenging to do…. It was more grandiose.” For the lush, orchestral arrangements, they collaborated with Larry Muhoberac (an original member of Elvis Presley’s TCB band, whose early ‘70s credits also included Barbra Streisand, Neil Diamond, and Lalo Schifrin) and Clark Gassman, who had worked on Hazlewood’s 1970 LP, Cowboy in Sweden. Backing vocals from brothers John and Tom Bahler, who remain two of the most recorded singers in history, added additional texture to several songs.

The big sound that Nancy describes above is exemplified in the album’s cinematic opener, “Arkansas Coal (Suite).” Clocking in at nearly six minutes long, the dynamic overture tells the tale of an ill-fated coal miner (sung by Hazlewood), while Nancy adjusts her vocals to sing as both the miner’s daughter and his wife. Hazlewood’s knack for vivid, nuanced storytelling shines throughout Nancy & Lee Again, particularly in “Paris Summer,” which details the conflict that a married woman faces, as she engages in a passionate affair. Another highlight is the country-inspired hit, “Did You Ever,” which was released as the album’s lead single. After it landed at No.2 on the U.K. pop charts, the song served as an alternate title track in several countries, including LP pressings in the U.K., Germany, and Canada.

One of the most emotionally-charged moments on Nancy & Lee Again is a cover of Dolly Parton’s “Down From Dover.” The heartbreaking tune tells the tale of a pregnant teenager, who has been abandoned by her lover and her family and ultimately gives birth to a stillborn baby. While Parton’s 1970 version was sung from the teenager’s point of view, Hazlewood and Sinatra transformed the country song into a duet. Hazlewood, who offers the man’s side of the story, sings in a notably deeper octave than his signature baritone.

Another poignant selection is “Congratulations,” which describes a soldier coming home from Vietnam. “His face has grown old and his eyes have grown cold/And they tell you of where he has been/Congratulations, you sure made a man out of him,” Hazlewood sings, pointedly. Nancy, who performs as the vet’s wife, argues that the song had a deeper meaning for her duet partner. “Lee started out a hawk, he was an army guy, so he was all for the war in the beginning. We didn’t talk about it, but at some point, he changed radically. ‘Congratulations’ was almost like an apology from him. I don’t want to put words in his mouth, but it was as though he was saying ‘I’m really sorry.’”

The song “Friendship Train” could also be interpreted as an apology of sorts – this time to Nancy. “You’ve been hurt and I’ve been hurt/Now we’re living pain,” the tune opens. When Hazlewood moved to Sweden without telling his longtime musical partner, Sinatra was understandably upset. “I felt pretty betrayed. I mean, who does that? Who just up and disappears like that? I’ll never understand it,” she reveals. But the uplifting duet – a slice of ‘70s pop perfection – offers reaffirming words of love between friends. “Lee felt things very deeply and tended to express his feelings in song instead of in real life,” explains Nancy.

The 10-track album closes with the stripped-down “Got It Together.” Backed by an acoustic guitar, the song is equal parts playful and candid, as the duo has an impromptu, spoken-word conversation about their lives. “I wish that we’d quit getting so old,” laments Nancy, who later shares her wish to have children (she would do so in the next few years). Hazlewood, meanwhile, attempts to remedy his past wrongdoings – this time asking his partner, “Can I go back to Sweden?” With that, Nancy gives her blessing.

This definitive reissue of Nancy & Lee Again also includes two bonus tracks. Both are stylistic departures for the duo – but fit right in with the psychedelic pop of the era. The first one, “Think I’m Coming Down,” is a harmony-filled reflection on a toxic relationship. “I think that was one of [Lee’s] drug things. I don’t mean that he used drugs; I mean that he was trying to be part of that culture. Trying to be hip,” explains Nancy, who delivers an emotive vocal performance on the solo track. Also included is “Machine Gun Kelly,” penned by a staple of the 70s singer-songwriter movement, Danny Kortchmar (James Taylor, Carole King, Linda Ronstadt). Recorded several months after the release of the album, the song found Nancy reuniting with Billy Strange, who arranged many of her solo albums, as well as Nancy & Lee. Sinatra and Hazlewood first performed “Machine Gun Kelly” during their residency at Las Vegas’ Riviera Hotel in February 1972 (later released as a concert documentary on Swedish television). While the recording has long remained a career favorite of Nancy’s, it would be decades before it was officially released.

Nancy & Lee Again remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, Record World, and Cash Box, among others. Yet, Nancy & Lee Again never received the spotlight it so utterly deserved. “We didn’t have label support at all in those days,” recalls Nancy. “Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It’s a very ageist kind of business.” Nevertheless, she adds, “I think it’s a very good album. I think it’s timeless.” Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Five decades later, Nancy’s legacy only continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums – her duets with Hazlewood among them – and dozens of charting singles, including the theme song to the 1967 James Bond film, You Only Live Twice). In 2020, Sinatra was recognized by her peers when “These Boots Are Made For Walkin’” was inducted into the GRAMMY® Hall of Fame. That same year, Sinatra partnered with Light in the Attic for Nancy Sinatra: Start Walkin’ 1965-1976, a definitive survey of her most prolific period. LITA has also reissued Sinatra’s classic debut, Boots, and her iconic, 1968 album with Lee Hazlewood, Nancy & Lee. The label looks forward to celebrating Nancy over the coming years with a variety of special releases, exclusive merchandise, and more.

The incongruous, yet glorious, creative partnership between Nancy Sinatra and Lee Hazlewood was well underway when the two singular artists reunited to record 1972’s Nancy & Lee Again, a follow-up to their bestselling duet debut, Nancy & Lee. Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with “These Boots Are Made For Walkin’.” Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy’s solo hits. Soon, the duo found success with a series of duets, including “Sand,” “Summer Wine,” and “Some Velvet Morning” – all of which appeared on their highly-influential 1968 debut.

Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. “Trivial music and not profound music became unimportant,” recalls Nancy, speaking to Hunter Lea. “It was a tough time.” And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together.

Returning to Los Angeles for the project, Hazlewood – who reprised his role as producer – chose to take a new direction with the duo’s sophomore album. Nancy recalls, “It was more dramatic; it was more fun to do, more challenging to do…. It was more grandiose.” For the lush, orchestral arrangements, they collaborated with Larry Muhoberac (an original member of Elvis Presley’s TCB band, whose early ‘70s credits also included Barbra Streisand, Neil Diamond, and Lalo Schifrin) and Clark Gassman, who had worked on Hazlewood’s 1970 LP, Cowboy in Sweden. Backing vocals from brothers John and Tom Bahler, who remain two of the most recorded singers in history, added additional texture to several songs.

The big sound that Nancy describes above is exemplified in the album’s cinematic opener, “Arkansas Coal (Suite).” Clocking in at nearly six minutes long, the dynamic overture tells the tale of an ill-fated coal miner (sung by Hazlewood), while Nancy adjusts her vocals to sing as both the miner’s daughter and his wife. Hazlewood’s knack for vivid, nuanced storytelling shines throughout Nancy & Lee Again, particularly in “Paris Summer,” which details the conflict that a married woman faces, as she engages in a passionate affair. Another highlight is the country-inspired hit, “Did You Ever,” which was released as the album’s lead single. After it landed at No.2 on the U.K. pop charts, the song served as an alternate title track in several countries, including LP pressings in the U.K., Germany, and Canada.

One of the most emotionally-charged moments on Nancy & Lee Again is a cover of Dolly Parton’s “Down From Dover.” The heartbreaking tune tells the tale of a pregnant teenager, who has been abandoned by her lover and her family and ultimately gives birth to a stillborn baby. While Parton’s 1970 version was sung from the teenager’s point of view, Hazlewood and Sinatra transformed the country song into a duet. Hazlewood, who offers the man’s side of the story, sings in a notably deeper octave than his signature baritone.

Another poignant selection is “Congratulations,” which describes a soldier coming home from Vietnam. “His face has grown old and his eyes have grown cold/And they tell you of where he has been/Congratulations, you sure made a man out of him,” Hazlewood sings, pointedly. Nancy, who performs as the vet’s wife, argues that the song had a deeper meaning for her duet partner. “Lee started out a hawk, he was an army guy, so he was all for the war in the beginning. We didn’t talk about it, but at some point, he changed radically. ‘Congratulations’ was almost like an apology from him. I don’t want to put words in his mouth, but it was as though he was saying ‘I’m really sorry.’”

The song “Friendship Train” could also be interpreted as an apology of sorts – this time to Nancy. “You’ve been hurt and I’ve been hurt/Now we’re living pain,” the tune opens. When Hazlewood moved to Sweden without telling his longtime musical partner, Sinatra was understandably upset. “I felt pretty betrayed. I mean, who does that? Who just up and disappears like that? I’ll never understand it,” she reveals. But the uplifting duet – a slice of ‘70s pop perfection – offers reaffirming words of love between friends. “Lee felt things very deeply and tended to express his feelings in song instead of in real life,” explains Nancy.

The 10-track album closes with the stripped-down “Got It Together.” Backed by an acoustic guitar, the song is equal parts playful and candid, as the duo has an impromptu, spoken-word conversation about their lives. “I wish that we’d quit getting so old,” laments Nancy, who later shares her wish to have children (she would do so in the next few years). Hazlewood, meanwhile, attempts to remedy his past wrongdoings – this time asking his partner, “Can I go back to Sweden?” With that, Nancy gives her blessing.

This definitive reissue of Nancy & Lee Again also includes two bonus tracks. Both are stylistic departures for the duo – but fit right in with the psychedelic pop of the era. The first one, “Think I’m Coming Down,” is a harmony-filled reflection on a toxic relationship. “I think that was one of Lee’s drug things. I don’t mean that he used drugs; I mean that he was trying to be part of that culture. Trying to be hip,” explains Nancy, who delivers an emotive vocal performance on the solo track. Also included is “Machine Gun Kelly,” penned by a staple of the 70s singer-songwriter movement, Danny Kortchmar (James Taylor, Carole King, Linda Ronstadt). Recorded several months after the release of the album, the song found Nancy reuniting with Billy Strange, who arranged many of her solo albums, as well as Nancy & Lee. Sinatra and Hazlewood first performed “Machine Gun Kelly” during their residency at Las Vegas’ Riviera Hotel in February 1972 (later released as a concert documentary on Swedish television). While the recording has long remained a career favorite of Nancy’s, it would be decades before it was officially released.

Nancy & Lee Again remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, Record World, and Cash Box, among others. Yet, Nancy & Lee Again never received the spotlight it so utterly deserved. “We didn’t have label support at all in those days,” recalls Nancy. “Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It’s a very ageist kind of business.” Nevertheless, she adds, “I think it’s a very good album. I think it’s timeless.” Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Five decades later, Nancy’s legacy only continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums – her duets with Hazlewood among them – and dozens of charting singles, including the theme song to the 1967 James Bond film, You Only Live Twice). In 2020, Sinatra was recognized by her peers when “These Boots Are Made For Walkin’” was inducted into the GRAMMY® Hall of Fame. That same year, Sinatra partnered with Light in the Attic for Nancy Sinatra: Start Walkin’ 1965-1976, a definitive survey of her most prolific period. LITA has also reissued Sinatra’s classic debut, Boots, and her iconic, 1968 album with Lee Hazlewood, Nancy & Lee. The label looks forward to celebrating Nancy over the coming years with a variety of special releases, exclusive merchandise, and more.

Memoirs of a Geisha (2005) is the award-winning drama film adaptation of the novel of the same name, produced by Steven Spielberg's Amblin Entertainment. The original score and songs were composed and conducted by John Williams (the Star Wars & Indiana Jones trilogies, Jaws, Close Encounters of the Third Kind, and many more). The album won the Golden Globe Award for Best Original Score, BAFTA Award for Best Film Music and the Grammy Award for Best Score Soundtrack for Visual Media. It was also nominated for the Academy Award for Best Original Score.

Directed by Rob Marshall, the film stars Zhang Ziyi and Ken Watanabe amongst others. The story revolves around a young girl who is sold by her family to an okiya, a geisha house. Her new family then sends her off to school to become a geisha. The story focuses on her struggle as a geisha to find love, while in the process making a lot of enemies. The film was nominated for and won numerous awards, including nominations for six Academy Awards, eventually winning three: Best Cinematography, Best Art Direction and Best Costume Design.

Memoirs Of A Geisha is available as a limited edition of 1000 individually numbered copies on translucent blue coloured vinyl. The package includes an insert and side D contains an etch.

The first of for the tone for his work for the company: Leon Russell Freddie King ’s Shelter label set ’s three albums
superb electric blues with a prominent rock/ soul influence. The massive Texan and the longhaired Oklahoman got it right the first time
around with the aptly titled Getting Ready LP. Recorded at the legendary Chess studios in Chicago, it might well rank as Freddie King’s most creatively satisfying work.

An array of styles is assembled here, ranging from deep Texas Blues to touches of country church Gospel and hard sockin’ funk. Also, Freddie delved deep into blues history to give his spin on some classic pieces of the genre. Elmore James’ “Dust My Broom” is done acoustically, with just Freddie and his Spanish guitar. The production on Jimmy Rogers’ “Walking by Myself” is equally low-fi, adding Russell’s honky-tonk piano ramblings and a tambourine.

Willie Dixon’s “Worried Life Blues”, however, features King at his most powerfully expressive on this electric blues. The fast-paced stomper includes lightnin’-fast solos from King and he can be heard duelling with the studio guitarist Don Preston, as well.

Limited first pressing on clear vinyl. Dick Stusso's third album is a document of slow mental unraveling with a world in perpetual decay as its backdrop. With S.P., California-based singer and songwriter Nic Russo has created his most out-there and toothsome record to date, plunging his listeners into a strange and thrilling new world at every opportunity. S.P. is the first Dick Stusso record in four years, following his stellar Hardly Art debut In Heaven from 2018-but this latest missive is more of an indirect sequel to the buzz-building 2015 release Nashville Dreams / Sings the Blues, diving deeper into the fictional character Dick Stusso's crumbling psyche and dystopian surroundings. If our introduction to Dick was someone trying to pursue their dreams and turning into a failure as a result, S.P. reflects the moment where, in Russo's words, "The character is becoming unlikable. He's succumbing to what is taking place around him."Nearly half of its 18 songs-spanning countrified rock duets, Guided by Voices-recalling anthems, and outro noise-burst sound experiments-were completed before the pandemic, when Russo decided to take a beat and allow the music to sprout new, weird buds in his rehearsal space. With mixer Andrew Oswald accentuating the record's unique feel, S.P. bridges the gap between the ultra lo-fi confines of his 2015 debut Nashville Dreams / Sings the Blues and the lush echoes of In Heaven, with a few helping hands to fully flesh out Russo's vision. Grace Cooper (The Sandwitches, Grace Sings Sludge) contributes vocals to "Dinner for Two" and "Self Reflection (Deep)," while his father Marc Russo-a Grammy-winning saxophonist who's currently touring with the Doobie Brothers-lays down expert horn arrangements on "Garbagedump #1." The myriad of twists and turns on S.P. further establish Russo as a fascinating craftsman who's never bound to do the same thing twice.

Remedy is Basement Jaxx’s joyous debut album from 1999. It was one of the most assured, propul-sive full-lengths the dance world had seen since Daft Punk’s Homework. A set of incredibly diverse tracks, Remedy is indebted to the raw American house of Todd Terry and Masters at Work, and even shares a penchant for Latin vibes (especially on the horn-driven “Bingo Bango” and the opener, “Rendez-Vu,” which trades a bit of salsa wiggle with infectious vocoderized disco).

On October 21, 2022, Merge Records will release Pigments, the debut collaboration between New Orleans electro-revival dynamo Dawn Richard and multi-instrumentalist, producer, and composer Spencer Zahn. Pigments is a project about the power of self-expression through living art, through motion. It's also a love letter to New Orleans, Louisiana. Not strictly classical, jazz or ambient electronica but rather a body of "movements," Pigments is an expressive soundscape that is an immersive passage through the city as seen through the eyes of a young Black girl with dreams to paint her future with the pigments given to her. Richard explains: "Spencer wanted to create one long piece of music that would ebb and flow around my lyrics and emotions, which tell a story of growing to love my own skin. I wanted my voice to be moss surrounding the roots of Spencer's compo - sitions, never forcing the moment to fill every space but rather reveling in the openness of thought and breath." Zahn agrees, saying, "I wanted to work with all these different textures, tones, and colors to have a new sound to frame Dawn's voice and lyrics. To hear a lone clarinet as the breath fades and a cello continues its melody to cue Dawn's vocal entrance is unlike any other record she has made. These are things that excite me as a composer but more as a listener. I hope that other listeners feel the same." Coming on the heels of Dawn Richard's critically acclaimed Merge debut Line, Pigments will introduce listeners to a different facet of Richard's outrageous talent and bring Zahn's thoughtful creativity to a new audience.

The Underground Culture Tourist is a new label from the artists of the same, aka Moss Shamshad. He has been making music since the eagerly 2000s on top labels like Classic Music Company but now takes the power into his own hands on this self-releases 12". It finds him back in the heart of the classy deep house underground with a debut vinyl release that will immediately turn heads. 'House Music Anthem' is stylish, stripped back yet atmospheric with its rolling drums and cosmic synth work while 'P To You' has a little playful funk to its beatdown drums and steamy chord work.

"Dans cent ans" is not a record: it’s a talisman.
Flavien Berger doesn’t make music, he makes time machines.
In 2015, he released his first album, Leviathan, which he’d imagined like a moment suspended into the bowels of present time.
In 2018, Contre-Temps, his critically acclaimed second album, was narrated like a flashback.
Dans Cent Ans (“In 100 Years”) ends this trilogy and launches into the future with the grace of a poisonous serpent.
Flavien had just finished producing Pomme’s last album and was simultaneously scoring Céline Devaux’s feature film Tout le monde aime Jeanne, when he recorded this album, during six months of isolation.
In the garret of a Belgian house in construction, these 12 tracks were born, close to the sky, both direct and mysterious.
Because Flavien Berger knows how to make machines sound sensual (a key example is the pop song “D’ici là”) and dares to interweave electronics, chanson and art music, organic instruments and synthetic choirs, without ever falling into parodic territory.
Because his voice, more precise, unreverbed, and close-mic’d than ever, sings to our ears – using multisyllabic rhymes (“Trop ivres pour te plaire / Tropiques du cancer”) and surrealist imagery (“la neige restera rose” – “the snow will remain pink”) – stories that feel unknown yet obvious.
And like both previous albums ended with a long eponymous track like a breath of air, “Leviathan” and “Contre-temps”, so does “Dans Cent Ans”, a 15-minute long saga where vocals, wind instruments and machines converse, as if Debussy, Etienne Daho and a Sufi Dervish met in a dream.
After listening to this album, the vertigo of love and the collision of times are one and the same.
In one hundred years, music will survive us all, and its dangerous beauty will awaken other lives. In the meantime, Flavien Berger keeps stunning ours.

MATE records are back with a cool rebranding and the same quality house and deep house to which we are accustomed. This time French artist Evenn and the prolific producer DFRA from Buenos Aires server up six smoking hot tracks in this solid split.

A Side Evenn present a nice house vibe, creamy rhodes and cool samples vocals makes a perfect combination straight to the dancefloor.

B side three new offering of quality deep house music by the multi-

New London based quartet Qwalia, led by drummer Yusuf Ahmed, offer a plethora of influences whilst remaining resolutely itself. Assembled from musicians who play with David Byrne, Joy Crookes, Nubiyan Twist, Frank Ocean, Jordan Rakei, Sampha, Cat Stevens and more; Yusuf is joined by Tal Janes on guitars and vocals, Ben Reed on bass and keyboardist Joseph Costi. Qwalia’s debut album ‘Sound And Reason’ is set for release by Alberts Favourites on 24th March 2023.
The name Qwalia stems from the same sounding word Qualia, a philosophy of mind with the property of being an ineffable experience. Qwalia’s music is an instinctive aural expression of how things seemed in the moment of creation.
In April ‘21, Qwalia spent two days recording completely improvised music at the Fish Factory in North West London. There was no plan or preconceived idea of what the music should sound like or what was going to happen.
“We set up altogether in one room, dimmed the lights, pressed record and just played,” says Yusuf. “We came away with over 13 hours of music, which was consolidated into three albums worth of material. The final record is mainly a result of pulling faders up or down to create space and structure out of what was already there from the live recording. The production process felt akin to a sculptor chipping away excess stone to reveal a statue that was already there, and occasionally putting some makeup on it!”
The band members are Pakistani, Italian, Venezuelan, Jewish and English. A reflection of the fact that cultural categories are infinite; Qwalia’s music unconsciously explores identity, exposing what this can mean. Or perhaps that it doesn’t mean anything at all.
Early support from Mary Anne Hobbs and Gilles Peterson, support to come from Huey Morgan, Cerys Matthews.